Albion Hockney

I think his films are great, and the format and meaning/intention is deeply intertwined. not for everybody I suppose as most good art is.

ughf read the wrong. hmm. yea— sounds rough

I mean this is just a film being shot on volume. It’s not the first … maybe it’s the largest scope all shot on volume? it still takes lots of departments and expertise and lighting skill…you certainly still use some movie lights and work with the volumes projection to light with.

they jsut get better and better as they get bigger. @200-400mm I'd personally want to be an OConnor 1030d or atleast a sachtler 18. Same for an Arri SR. That said for small run and gun the 15 and 12 are great sizes—you just lose a bit of stability and smoothness of panning. and yea the naming means pretty little. I think they have different models with different top plate options. You also may want to consider the new series that has the leveling lever on the head itself.

I wouldn't stress about it too much. a lot of it works itself out naturally on set. and sometimes apple boxes do help esp for seated scenes—just don't over do it.

Camera language is the same as written language in that it takes literacy to understand. watching films and seeing what works and doesn't and how it makes you feel teaches you to "read" the images. as a starting point imitation is fine! its a great way to learn —I think its common to be eager to develop your own language but you learn a lot by imitating and trying to achieve the same feeling as another DP did. over time you learn what you like and don't like and can make it your own. Or just try things that are out of the box your interested in, they might work—they might not. but when you try things you can really see and feel it working in a way that you can't achieve just by watching others work.

1080 on youtube? need a higher res cleaner version to really see whats what. but my guess is the 16mm grain will indeed mask a lot of the defects

Interesting. Hopefully they will release details on how it works.

I’m pretty sure This works similar to a device like the metabones speed booster which projected a full frame lens onto an s35 sensor.

I think you are in the motion control space—I don't think standard fiz motors could move that slow without a separate controller of some sort. I wonder if the FIZ on something like a BOLT or similar system can do this—not sure how they work. I'd ask a motion control company about it though.

not a dumb question and there are many answers. probably the main one is we dont have many digital projection options above 4k Right now in theaters or ways to distribute content over 4K

what your looking for is called a "gaffer glass" they are sold widely

I know for commercials most DP's work with a colorist and have a lut or a few luts they always use. For feature projects I think working with a colorist ahead of time and creating a lut is pretty popular

I think the film business needs to find a way to support smaller companies. Everyone has gone the way of bigger business and companies merging from equipment manufactures to rental houses to post production. ....but the profits aren't there for that world. we need smaller boutique solutions. There is a 150million dollar film market —surely someone can build a business on that

things are not looking good out there. jeez