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AJ Young

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About AJ Young

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    Los Angeles, CA

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  1. Thank you, all! Phil, I still have an old trailer on my website. It's basically the same trailer, but with the old title: http://www.ajyoungdp.com/articles/narrative/noise_color/videos/noise_color_trailer02.mp4
  2. A feature I shot in 2017, then called Noise and Color, has been picked up for distribution by Gravitas and re-titled to Exodus. It will be released on Apple and in a limited theatrical run on 3/19/21. Here's the trailer: And here's where you can watch it: https://itunes.apple.com/us/movie/exodus/id1555414930 Some info about the movie: Camera: Red Epic Dragon Lenses: Kowa Prominar Anamorphic - 40mm, 50mm, 75mm, and a doubler for the 75mm ~1.5 Ton GE Package A lot of our cinematography inspiration came from The Rover, Blue Ruin, Out of the Fu
  3. Of course it's more expensive, the Venice is newer. 🙂 The struggle with owning a camera is that you're entering the rental game whether you like it or not. Productions and DP's are always going to ask for the latest and greatest; you might miss out on jobs simply because the F55 is too old for productions. (Not that you can't make great images with it, but they would rather rent newer equipment) BUT, if you're getting the camera for personal projects, then it'll be just fine. 🙂
  4. To be honest, the Venice will blow the F55 out of the water in both operationally and image quality. It's just a newer camera that has improved upon the issues in the F55. However, the F55 can still put out some beautiful images. If you're looking to invest into a camera package to make money on it (or be hired because you have it), then go with the Venice. If you just want a good camera for personal projects, then the F55 will be great.
  5. If I'm not mistaken, "multi-gamma function" is just a marketing term referring to different output displays the camera can record in. REC709 has its own gamma, vLog has its own gamma, etc. Choosing from multiple gammas means choosing to record in multiple outputs. If you're shooting for cinema and a color grade, then vLog captures the entire dynamic range of the camera and gives you the choice in post of how to apply the gamma. If you're shooting for broadcast, then you need to pick the gamma that matches your broadcast means. Please correct me if I'm wrong! 🙂
  6. Owning your own camera to rent and owning your own camera to shoot projects are two very different things. If you're looking to get hired because you have a camera, then you'll need the top name brands: ARRI or RED. At that point you're joining the carousel of the rental business; you'll need to always have the latest version of the name brands. It becomes a bit of a losing battle for small owner/operators. If you're looking to have a great camera for personal projects, then get the one that will meet the final delivery demands of the personal projects you want to make. (I assume mos
  7. Martin Frohlich demonstrated using Blender's real time engine, Eevee, in a virtual production environment with green screens. You can watch his talk from BlenderCon2019 where he discusses it here (start your video at 9:05 for virtual production): A cliff notes of the video: Frohlich made two films, each shot in two versions: traditionally on location and exclusively virtual via green screen. The goal was to make each version of the two films look identical. Frohlich wanted to see if they audience could tell the difference between on location and virtual production Th
  8. Make sure to clean every roller and not just the tension band. It seems tedious, but necessary. I started at the platter and worked my way through the film path. In your case, start at the beginning and clean through the film path. Should only take you about 5-10 minutes.
  9. I don't recommend lubricating the film with anything that isn't designed for archival. Any chemical that sits on the film, even only on the sprockets, will affect the preservation of the print. FilmGuard seems safe, however I can't speak for its archival capabilities (I've never used it). If the prints are valuable to you, I'd recommend spending the money on a lubricant designed for film. I do recommend lubricating the tension bands of the projector. In the US, I used Tri-flow on our 35mm projectors when I was a projectionist for Harkins Theatres. A little goes a long way. Do you cle
  10. Very interesting. Restoration of old prints or remastering becomes a whole new problem, as you said. Let alone adding the streaming byproduct after the fact. It's also an interesting artistic choice. Degrain/noise an entire movie and add in the noise/grain. I think it's getting harder to keep the image consistent from format to format now. The Blu-ray looks great, but people are streaming it. The 70mm print looks amazing, but the blu-ray just quite can't compare.
  11. If a project shot on film and needed an HDR grade, how would they correct the "sizzle" from the grain? Denoise and then add grain?
  12. The ACS released a fantastic video on virtual production. Definitely worth a watch!
  13. This is becoming an interesting development with streaming. There are so many devices each with their own operating systems and various internet speeds that streams show better/worse/different qualities. A byproduct of streaming compression is noise reduction. Some devices are faster computers, some are slower. Some programs are faster than others even on the same device (ie web browser vs DaVinci)
  14. Just watched the movie last night! I sadly couldn't see it in IMAX because of COVID, but the blu-ray was great! Nolan movies really give me a good head buzz. I wonder what the movie would be like if we played it in reverse?
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