Albion Hockney

Cameras have become smaller and lighter and we often use monitors instead of viewfinders—in this way the camera has become more a bodily extension. moving the camera around creates paralax in the background so can be more exciting and lively. obviously depends on the project and its use if it is actually helping or hurting the storytelling. The video game influence I see is more in the use of POV as taken from first person shooter games

one shadow is from the hair light—I don't know about the 2nd. Back then the practice wasn't to bounce light though so the fill light is likely also hard sources. @David Mullen ASC would know much better though!

very different style then how we go about things these day. that said It may be the creaminess you like is just the contrast ratios and art direction and less a product of the classical Hollywood lighting. There is a alot of fill light here and a really nice rich color palate. in terms of lighting you can see a hard hair light on the talent, a classic frontal 3/4 key light, and then fill lights. I think some of the background light is hard light bouncing back off the mirror (you can see the odd patterns on the ceiling). it was probably done almost all with hard light.

Its very dependent on the situation. Its really more about the direction of the light. For the most saturation you want something evenly front lit. hard light often creates more contrast as well which pops out colors. IE a solid block of red is going to appear more saturated if its infront of deep black shadow then if the background also has color/texture in it.

When working with sunlight small led or other small lights won’t be bright enough to do much of anything if you are going to light the subject with direct sunlight at a nice angle it should like great. The other option is to put the sun behind the talent and use a large white bounce to bounce sunlight back at the face.

very beautiful

the 8-64 is an S16 size lens—so it wont cover the s35 sensor.

very nice to hear they are able to handle the parts and all the stuff to keep everything running! I assume we will keep wanting them for a bit longer!

I'd love to get the perspective of folks working in the camera rental business on this. I wonder at one point it will be hard to shoot on film because you can't find a good working camera. The opinion that there is not enough work being shot on film cameras to support the development/cost of a new camera I think is not certain. There is a lot of work being shot on film right now all over. Of course no where near what there once was, but their are many high budget films,tv shows, and even commercials using film. I wonder if Arri ever considered a new 35mm camera in the past? With the high end film look plugins and AI on the rise though I think in maybe the 5-10 years it will be totally indistinguishable what the original medium was.

Extra help. Sounds like you are working with a small crew - ask for extra hands. Even a camera pa can make life much easier.

I believe Amran is there cheaper more consumer level products from aperture but I'm not sure. for Aputure i'm only personally familar with the hard lights like the 300x/600x/1200 maybe check out alladin, intelytech, nanlite if litegear is too pricy —but I havent used any of those products personally

Lots of great options depending on your budget. Most will give you more output and more flexibility than an old school kino. litgear litmat is popular - maybe more on the expensive end. aputure is another more budget friendly people seem to like

I think a 12x overhead w/ 4-4x4 LED's is a good source. If you have the brightness I'd go Full Grid or Magic Cloth if you want it to be really even. If you want to make it moodier Skirt the edges of the 12x w/ duvatene to keep light from spilling onto the background For fill/eye light I would take another 12x or an 8x and bounce some light into it, but it can be pretty low level.

basically what you got here is soft top light. the first example is one soft light over head and a little frontal. The 2nd example is like a more complicated version of the first. in the 2nd wide shot you have a big bright source coming from the rear right side of frame edging everyone + a soft top light. that bright source from the rear right is something bigger then the lights you have. Maybe a 1200D instead of 120d could do it. The top light you would need to cover a set this big would be large - that many people I'd prob build and overhead 12x softbox. you could try finding a way to rig the 8x overhead and bounce light into it.

Are using the M-LUT in camera. for the FX9 you need to turn M-LUT on to see the changes as far as I know. if that doesn't work then there might be another setting causing the issue or less likely an issue with the camera. Sony menus are difficult. just keep messing with it. are you using an external monitor or do you have an SDI monitor you can try as well?