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AJ Young

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Everything posted by AJ Young

  1. 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
  2. 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
  3. 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.
  4. 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
  5. 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.
  6. 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?
  7. The ACS released a fantastic video on virtual production. Definitely worth a watch!
  8. 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)
  9. 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?
  10. A feature I shot before the lockdown earlier this year was just released on Amazon Prime, distributed by Indie Film Rights: https://www.amazon.com/gp/video/detail/B08QM77DLZ/ref=atv_dp_share_cu_r It's called Mandao Returns, a sequel to the film Mandao of the Dead. (I shot both) The first film played at San Diego Comic Con in 2019 which helped fuel the fundraising campaign for the sequel. It's a horror comedy film that takes place around Christmas. You can watch the trailer here:
  11. Looks super fun! Please share the final film!
  12. You can do it via overexposure as well! John Seale did it for Mad Max: Fury Road on their day for night sequences. Source
  13. I tested this thought of dynamic range remapping, aka redistribution! Here's my results: http://www.ajyoungdp.com/articles/blog/OverUnder01/ http://www.ajyoungdp.com/articles/blog/TWC_underexposure/ Hope these help!
  14. "Painting with Light" by John Alton doesn't talk about the history of technology, but is rather a time capsule because of when it was written: https://bookshop.org/books/painting-with-light-9780520275843/9780520275843
  15. I firmly believe this technology will only get cheaper, and quickly. Unreal Engine (the software used on Mando) is already free to use. I would imagine small LED studios will start popping up soon across major cities at affordable rates soon. Hell, you can even use this tech right now with a big LED TV! 🙂 (Albeit, for insert shots or ECU's)
  16. I completely agree! I haven't used the Micro Cinema Camera, but I would imagine it to have little to no latency as well. I would caution the Black Magic cameras when it comes to pairing it with the Aaton. It has no log profile, so they definitely won't match on set. The high fidelity files the camera records, however, are easy to grade and can match in post. 🙂
  17. All of those EVF's seem great! My only problem with them, physically, is the inability to quickly change them into an onboard monitor. What I really like about the Amira, Alexa Mini, and FS7 are the ability to flip out an onboard monitor. There are tons of times, not just when I'm shooting documentary work, where I can't physically get my eye to the eyepiece. The EVF's I mentioned can either flip away the eye piece to reveal the onboard monitor (FS7) or have a second monitor on the EVF that flips out (Alexa). BUT, there are few EVF's which do that AND are not already part of a camera
  18. In my experience, I've had great HDMI latency with: Canon C100's, C300's Sony FS7's, FS5's (I would imagine the same with their FX cameras) Black Magic Pocket and Ursa cameras (recent versions that do 4k) Panasonic EVA1 Is latency the only issue you have with EVF?
  19. Hardcore DNA's contact info is elusive to me as well, but someone in this facebook group may be able to help: https://www.facebook.com/groups/anamorphicshooters This is what I could find from the company, Rectilux, though I'm not sure if it's up to date: https://www.facebook.com/Rectilux-704770636267200/ I've personally used the DNA and liked it. However, I would recommend Rapido Technology's FVD-16a or FVD-35a. Just as sharp, but easier to purchase and slightly cheaper. Plus it works with Rapido's clamp system which is one of the best in my opinion. Here's their website: https:
  20. It depends on the type of work you shoot when it comes to the lights you should own. If you shoot very soft key corporate videos, then a fresnel wouldn't be ideal. You're better off with a softer source to begin with like a Kinoflo or Litemate. $1000 is a tight lighting budget, though. You may have to get very used tungsten heads and shoot them through diffusion, but then you have to buy enough c-stands, sand-bags, and flags to control/shape the light. That $1k runs out quick. This light seems like it can check off a lot of boxes outside of soft light: https://www.newsshooter.co
  21. I've noticed that too. I asked my CPA about AB5 and he said it basically boils down to where the production will be paying their taxes. If they're filing in CA, then the state will find out who was mis-classified when the cast/crew submits their 1099's to the federal government. That's when CA will penalize the production, which apparently is hefty. Before and even after the lockdown I've still done a number of non-union gigs that pay via 1099 in CA. There's no risk on my end because the penalty only applies to the productions who incorrectly classified me. BUT, this is the first year the
  22. Stuart is spot on and I want to expand on what he said: The hard part about calculating OT is that gigs are given out on a day rate basis, usually $$$/12. Figuring out OT requires your hourly rate. But, that $$$/12 already has four hours of OT in it. That means you'll have an incorrect hourly rate if you divide $$$ by 12 hours. The best way, in my opinion, to calculate OT is to find your hourly rate from the initial offer (for example $500/12) and then multiply that by the total hours worked after converting the OT into regular hours. What OT is depends on your country and then state
  23. I used on the Ninja V on a micro-budget feature I shot earlier this year and was disappointed in the picture quality of the monitor. The blacks clipped waay to quickly. Otherwise, it was a good small monitor! If you're looking for something like that, I recommend the PIXE5. It runs hot, but also checks all the boxes you're looking for.
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