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Gene Sung

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Everything posted by Gene Sung

  1. Hey AJ, what was the resolution of the negative? I'm assuming if the negative was more than 4K it was a Red?
  2. Yeah, it's really weird. All of my better network and commercial jobs are HD finishes. I've only had two 4K finishes in the last year. The "help your friends on passion projects / no money projects," they want a 4K finish, LOL. Oh... the irony.
  3. No luck on trying to Google it, but does anyone know the actual percentage of content that are finished / delivered in 4K / UHD vs. 2K / HD? Ex. = Movies? TV Shows? Web spots? I'm assuming that most films finish in 2K / HD still, since many are shot on Alexa which is not a 4K camera? What do Marvel block busters finish in vs. Indie films? At this point, a very slim percentage of my professional / paid jobs finish in 4K, but I work mainly in TV and web delivery, not Netflix (a boy can dream). I always capture in at least 4K to 6.5K. I personally believe you have a huge advantage by capt
  4. Hi Friends, I don't shoot a lot of comedy, usually more artsy and dramatic type stuff where I usually use 14mm to 25mm for wide shots and up to 85mm or more for closeups. I tend to really vary the focal lengths. However, I have a shoot a short comedy spot and was wondering if I should stick to more wide angle lenses, even for the closeups? I know wide tends to be "Funnier." Shooting in Super 35mm FOV, I was thinking of sticking between 20mm to 25mm. What are your thoughts on focal lengths for comedy? For example, what focal lengths did they use on Seinfeld?
  5. I have no idea. I asked my accountant about it and he says that it's legal for LA to do that and he was hit by the same "unsecured property tax" for some office equipment he bought. Total BS as it's double taxation. Moral of the story, avoid financing and get the 0% credit card. Probably going to sell that camera soon anyways.
  6. My experience on my horrible financing experience. Cut and pasted from another forum. 0% 12 month credit cards are better than lender financing IMO. Warning on Financing if you live in Los Angeles When I got my FS7, I did the 0% 12 month promotion through Sony who uses DeLage Landen as the finance company. I bought it locally through Samy's Camera. DeLage Landen reported my financing to the Los Angeles Business Office who then hit me with a "Unsecured Business Tax" which is total B.S. because I already paid sales tax on it. So now, the city of Los Angeles wants $130 "tax" a year fo
  7. Sorry if my question is not well worded. For example, when outside shooting a sunny day, Medium shot portrait of a person where there's a good bit of blue sky still, would you leave the polarizer on to help make the sky pop? Or does polarizer effect the talent skin enough at this point to remove it? Are polarizers generally consider bad when the talent takes up considerable framing in the shot?
  8. Obviously, for wide, sunny exteriors a Polarizer is a nice thing to have. But when talent / humans are involved on said exteriors, at what point do you guys ditch the Polarizer as I know they can kill the specularity on faces (medium, medium wide, etc...)?? I have my theories, but want to see what others think. Thanks
  9. Hi Friends, The stills below are from a location scout the other day. I usually avoid facing the talent directly into the sun, but lets say for whatever reason I needed talent to face into near direct sun and I wanted to diffuse the subject to soften shadows. In this case, we just quickly held a Matthews Yellow Frame Silk (1.6 stop light loss) in front of the sun and it takes aways the harsh shadows. However, the subject is now 1.6 stops darker than the background which is brightly lit. What is the best way to bring the subject back up 1.6 stops so he’s diffused / softer shadows,
  10. Personally, I would avoid a GoPro. I recently shot a spot with Ninjas for Disney. Main camera was a Red and at the last moment due to tricky rigging, the client threw in a GoPro at 60fps. Honestly, the footage looked terrible compared to the Red. I wish we had rigged an A7s for those shots, since it's at least comparable to the Red.
  11. Hi Brian, At this point, I'm just trying to figure out the split between myself and my partner. First thing is just to shoot the pilot. If it does get to the point of possible finders and potential investors, I'd be thrilled, but not looking that far ahead yet. Thanks, Gene
  12. Hello Friends, I’ve created an episodic series and wrote the pilot which will be shot in the next month or two. However, I feel like I need to bring on a partner (I have several people in mind) because I feel that this project has a bit of legs and would need someone to help produce and more importantly, promote it once its done (I’m terrible at the business end of things). So it basically goes, I wrote it, co-producing the pilot, I’m going to DP and do all the post. My partner to be will direct the shoot, co-produce and probably do more of the business legwork. My question are:
  13. For an FS7, you can get about $200 a day, maybe $250 on doc jobs so just subtract that from the rate. I camera operate for another company WITHOUT gear (They shoot on older ENG Panasonics, FS700s and C300s) and I get about $500 a day for that. But these guys also generally have lower budgets than my other sports doc company. I do feel like on Doc jobs and lower end type jobs that I often get, having a camera is a plus. Producers often don't have the time or budget to spend a day sourcing cameras and sending out PAs (if they have one) to pick up and return cameras. Renting takes quite
  14. I don't know about feature docs, but I do shoot very regularly for a sport documentary company (mainly short form) and from the same company, I get $550 for their cheapest jobs (usually 3 - 4 hours), $750 for mid range jobs and quite often $1000 a day for their better budgets. This is with my FS7 and fortunately, more often than not it's the $1000 and $750 jobs vs. the lowest budgets. The clients are generally bigger name sports brands - NFL, Nike, NBA, MLB, etc... so the docs have decent budgets. My doc jobs are generally lower budgets than my TV Network DP jobs, which are a good bit
  15. Thanks friends, this has been super useful / helpful.
  16. Hello, I’m from Los Angeles but might be going to Paris this summer to shoot some B-Roll for a film project (vacation / work combo). Simple stuff, probably only 3 rolls of Super 8mm film To avoid airport X-Rays, I was thinking of buying the film in France. Are there any reputable super 8mm dealers that sell film, process and possibly do an HD digital scan in or around Paris? I’ve heard great things about Andec, but they are in Germany which is a bit out of the way, so hoping for something in Paris or around there. London could be a possibility if there is nothing in Paris, since I
  17. Thanks friends for the advice. When you're used to shooting with gear and all of sudden you are not allowed to use it due to circumstance, panic ensues! LOL.
  18. Thanks for responding Satsuki. Quick question with the 8x8 frame of full diffusion, would that have cut all the sunlight from their faces so it would appear more in shadow? Or maybe use 1/2 stop of diffusion, so there's still some shape on the face from the sun?
  19. https://vimeo.com/131038671 Link Above I DP’d this TV show Main-Title for the FYI Network. LOW BUDGET where most of it went to the animation. We had a sidewalk permit that did NOT allow for any lights or massive silks. Not sure if it would have done much anyways as the talent were walking for so long. How could I have done this differently if I had a decent budget and permits that allowed G&E setup? Normally, I would probably shoot it on the shadow side of the street or back, but because of the long walk it was impossible (at least with our budget) to bring the talent
  20. I have this shoot coming up where they want this really gritty, lo-brow type look. The client referenced the American Apparel ads. They want something really harsh looking and dirty looking - REFERENCE ATTACHED. How do you guys suggest lighting something like this? I’m thinking non-diffused or minimal diffusion, frontal lighting? The highlights on some of these shots are pretty rough. Some of these pics almost have a spot light type feel. Maybe an un-diffused LED since they can have this harsh quality unlike Kinos. Or even just a straight on, un-diffused Fresnel? Any suggestions wo
  21. Thanks guys, I'm using CineEI mode where the ISO is just fixed at the native 2000, so I just rated it at 800 and it seems to work pretty well in that I have a better idea of the final picture from the Log, keeps the maximum dynamic range of the camera and keeps the noise down.
  22. FYI, the post time for something like this is very quick. Maybe takes about 1-2 minutes to pull the shot down, so post time isn't a huge issue.
  23. Hello everyone, I wanted to see how you guys would approach creating a low light look. The camera is a Sony FS7, which has pretty good low light. This is just a test shot of my wife sitting on a couch as I was going through settings and testing the camera. I just pointed a 1K open face, scrim’d down 1 stop with a silk in front to diffuse. The camera is at f2, native ISO of 2000 If you guys were trying to create a low light look, would you guys OVER LIGHT it like I did in the top picture? Or would you just try to create the low light look in camera? I noticed on most cam
  24. 3 to 4 months, you might consider buying. Shorter projects, the rates in LA are very cheap from smaller rental houses. From Brainbox you can rent a full Dragon Kit with Zeiss Ultra primes and a bunch of other stuff (about $120K in gear) for $1000 a day or $3000 a week. You can get a more basic Dragon package for about $600 a day or $1800 a week.
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