Albion Hockney

If you want the image to look exactly like this but not see out the windows I'd just lift exposure on the window itself in the color grade. your essentially saying you like the lighting in the shot, you just want the background out the window too be brighter. if you had a budget you might just take a 12x ultrabounce and throw some light at it out there, but then you will have no texture at all out the window.

I know back in the day the arri 16s was the go to for ski/snowboard films. I knew someone who had theirs converted to s16.

films schools should just put out CV's with a list of directors that came out of the schools.

S4's are T2 and Mini are smaller and T2.8 —I'd reco doing in depth research on your own. lots of info and tests out there to compare. the "i" versions in mini and standard designate lens data pins that communicate with the camera

Cooke lenses are just less popular right now. Super 35 coverage is part of it, but they have full frame lenses now too. The Cooke i5's just never took off and nothing has really hit since the S4's. I donno exactly why. they do look good. just happens that way sometimes. Ultra primes are also out of style the Tokina vista primes are very affordable and very sharp. great value —just bigger. Masters are heavy and big The Leica's are like crazy expensive. Very sharp honestly....they all look pretty good and most spherical movies on modern lenses ...viewers would be hard pressed to notice any major differences.

If you need steadicam like moves, but fast. its a great option. there are a few guys who do this.

a shadow being too harsh is subjective, sometimes you want strong shadows —other times not. no rules here. the quality of light you have looks alright to me. the easy way to wrap the light more is just bring the whole unit to be slightly more frontal and the light will "wrap" around her face. if you want to further soften the shadows you might try adding in a second more frontal source that continues the book light and blends into that first source. you can keep the 2nd light dimmer then the first light so it doesn't feel too frontally lit. the bigger the light source the softer the shadows will be.

on a bigger project you have a DIT with live grade capabilities —so your feed is going from the camera into their setup and back to your monitors all live. This allows you to work with a couple luts and play with things as you go. Without Live Grade you can load in a Lut to the camera and you treat it just like using the arri viewing lut. Remember the picture you see on the camera normally is also a Lut the camera is shooting LOG, but the arri rec709 transform is just being applied internally to your monitors. no matter what its all pretty simple at its core. The camera shoots arri log and you are just applying versions of a rec 709 transform. in the color grade many colorists use the DP's lut or their own luts as a starting point for a grade instead of just grading straight off the log. you can work with colorist to make a lut and then load it into the camera ahead of shooting. I think there are also Lut's for sale or to download —but i'm not familiar with that. this stuff rarely changes what you actually do on set, I think in some circumstances especially with over/under exposure effects it can be helpful

I don't know anything of this, but if they are releasing a smaller and/or cheaper version of the 35 I would be shocked if the sensor was bigger. I think it will be another generation before there is a larger version of the alexa 35 chip since they can't be stitched.

also reminds me the deakins cove light

keep in mind. lighting is simple. if your background becomes too bright when you turn a light on, that's because the light is hitting the background too brightly. one method we use in that situation is to "flag" the light off the background with black fabric

Blue always confuses me. I've had skypanels at 10k blue and balanced the camera for daylight and it didnt even feel that blue. You can always just push the camera white balance warmer and put your tungsten sources at like 2K kelvin too. your lamp plan seems good. if you have windows with a translite or something keep that in mind too....that might be the hardest part to sell.

oh wow —vintage film scans. it really is 2025

business (which is an unfortunate part of this game) is about leverage. if you are afraid to lose the movie because of pushing back then your are in a bind. That said a good producer wants you to be happy so that you are excited to work on the movie so they should negotiate. if you feel you are highly skilled, the director wants you and your better then other DP's they may be talking with then you are in a good position. Do you have an agent, at this budget levels agents might be interested?? I'm sure there is someone with more experience who will weigh in though good luck!

Oh Wow—love that "It’s perfectly likely that a S35 lens might have less distortion" ! thanks for this information So interesting that there is this huge misconception around this. Someone let Corbet and Crowley know LOL —IMOP the use of it in high end films (IE Nolan, Anderson, Star Wars, w/e) is partly pretension and money —IE if you have the money why not used the biggest and bestest thing. Its like using leicas or something. Not to say 70mm or vista aren't going be beautiful... the movie looks epic!