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Dan Finlayson

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  • Occupation
    Cinematographer
  • Location
    Los Angeles, Boston
  • My Gear
    Moviecam Compact, Arri 35-3, Sony a7s

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  • Website URL
    http://www.danfinlayson.com

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  1. Totally understand this perspective and I really wish delivery compression wasn't geared exclusively toward smallest file sizes across the board. When I do really want grain though, I usually trial and error a higher grain level for streaming vs my prores output. It's imperfect but I usually end up somewhere I'm happy enough with.
  2. Spectra is decent for super 8. I try to go to Fotokem for 16mm or 35mm.
  3. This happens to an extent with split diopters in front of the lens too, correct?
  4. There's been a few comments addressing the length of your short - I really think this is a major factor here. I shot a "short" that ran 18 minutes. We got accepted to a pretty good shorts festival and I spoke to the programmer about it. It's really important to remember the perspective of the people running the festival - they schedule blocks of shorts, usually tied together with some sort of common theme. They really don't want one short to dominate a screening block unless it *really* matches the theme well. We got super lucky. So making a long short is really stacking the cards against yourself in the festival world. Don't take it personally if it doesn't get accepted - you're absolutely at a disadvantage going up against 5-10 minute films that are easier to program.
  5. This serves a different purpose! The Alexa is 10 years old and has had false color since the beginning. The EL Zones are making the translation from IRE values to stops as your meter would see them. It's a small difference but notable since no one's really taken that last step. It is worth noting that the Alexa false color is kind of in-between. The green and pink levels are telling you stop values while the rest are IRE information. Which is probably why I like that implementation the best
  6. We'll always have to learn each camera. But Lachman is doing something different here. He/Panasonic are calibrating the false color specifically to V-log on the varicam before any creative luts or compression is applied. The point isn't to know much about the varicam's latitude - it's just to make the camera a really detailed spot meter.
  7. How many "bad" lenses check all the boxes the K35s do? Full frame, decent focus breathing control, limited LoCA for their age... The price is inflated but they're definitely unique.
  8. I used one of those 3 bodies shortly after! On my very low budget project with limited accessories - I enjoyed working with it. I was in Abel's LA location in 2019 and asked about the Penelopes - they told me all the bodies had been sold. I can totally see how big feature production could test the limits of that camera. On the other hand I'd shoot a music video on one in a heartbeat... if I could ever find one to rent!
  9. True but I don't think anyone's picking K35s to shoot at f/4... they want that sweet, low con, WFO look
  10. I've shot with standard speeds extensively - they are absolutely distorted! There is a decent amount of field curvature that gives a three-dimensional quality to center-framed subjects. There is also a moderate amount of barrel distortion on all the lenses wider than 40mm. I think they are beautiful lenses and part of why I like them is their distortion compared to anything newer.
  11. From a safety perspective, as a cinematographer, I would veto any shot like this as soon as it involves crossing a street. I've worked a lot on low and no budget projects (more than I wish lol) and that's one point where I draw the line. I do think, under certain circumstances, you could steal something like this if you're entirely on a sidewalk and never cross any car paths. Even a busy driveway or parking lot entrance is too sketchy for me to sign off on. I were your collaborator, my first question would probably be "why does it *need* to be a single take?" Maybe you've had this conversation already and have an excellent answer for that of course! Regarding lighting: One counterpoint for 35mm is that if you're pushing the limits on exposure, grain will be less overbearing. If you can shoot at a 2/2.8 split or deeper, consider 35, especially if you're shooting 3-perf or 2-perf (and have a great 1st AC)
  12. @Daniel Klockenkemper Just gotta shout it out - that was a really excellent explanation!
  13. I take it you're interested in a monitor that does these functions? As opposed to a stand-alone box? I'm interested in any solutions people recommend for this too
  14. I know this is an old thread but I just picked up the Benro S6 Pro and it's pretty decent for what it is. Also I HATE bowl mounts. Give me a 2575 on real sticks any day of the week. Even with tiny heads I prefer the flat base and to level with the sticks.
  15. Ahh thank you! That dramatic defocus in the center is definitely reading here. I captured my test images with a Sony A7s. I then cropped the image to 2814px across which, according to my math, should closely match the horizontal FOV of an Alexa Classic. Here's one more image, this time focused at about infinity: https://imgur.com/a/BPu8Xuu I'm really glad you included this in focus image as well because it raises some questions about the particular lens I shot through. In the infinity focus image there's quite a bit of softening at the edges. Is this a characteristic of infinity focus on these old Distagon lenses or should I be seeing flatter focus across the image circle than this like on your lens projector shot? I shot this image wide open.
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