Jump to content

Albion Hockney

Basic Member
  • Posts

    651
  • Joined

  • Last visited

Everything posted by Albion Hockney

  1. Red is a brand not really designed to target people who want reliability and a proper professional product. They built the brand on hype and social media influence. I agree it would be nice for that to change and have another legit player in the marketplace
  2. Yea I think this is a very long term game and is clearly just business stuff. That said I think in the longer term it could add more competition that could be interesting. Maybe a more fully featured red komodo for under 10k for example. This is a hard space to get into though and only getting harder as tech improves even with the RED brand and tech it might just not happen for Nikon. Panasonic hasn't been able to crack the code even with pretty good camera tech (ie the varicam and varicam LT).
  3. Nikon is a huge company with way more resources then RED. Maybe Nikon will create some interesting cameras —or maybe the whole thing will be mismanaged, But can't be much worse then RED. I see less and Red's on set these days other then the komodo. Atleast they finally got ND filters in the things. Hopefully Nikon can take the base of what Red is doing and improve upon it, they could become a major player in the next 5 years if so.
  4. this might of interest -https://www.keslowcamera.com/gear/film-cameras/35mm-mos/arriflex-35-iic-hand-crank-modification/
  5. I have no idea how they actually did it, but it looks like a handcranked effect to me. Also I think this spot is 35mm. I'm not sure about this, but isn't there something you can get for some some arri 35 camera to do handcranking?
  6. I’d just get a fisheye converter - they make them at .3x magnification or even wider. In post you can distort it back to rectilinear, though the grain might look a bit weird. or shoot on 16mm
  7. The stabilization might get funky I’d test that if you want to try it. This is. It stabilization in camera and looks great
  8. There are always lots of ways to accomplish this look the specifics of the type of diffusion or bounce vs direct will have to do with many factors you need to work out with your gaffer. that said these shots are quiet wide and require more lights then you mention. In the first still facing the teacher from the back of the classroom. I'm guessing there are lights coming through every window on the left side of the classroom. so 3-4 lights. the light on the teacher looks like its pretty hard so. its likely something like a 4k or bigger through light diffusion. but there also appears to be soft ambiance from the window which could be another softer light or just natural ambiance. Yes also appears to be a large light coming through the rear window of the classroom again probably a 4k or bigger. I'd say this scene has at least 4-5x lights around 4k or larger. also appears to be ceiling lights providing some fill at a slightly cooler temp which helps make the sunlight feel warmer. Unbleached Muslim is very inefficient way to bounce light. if you just want warmer light I would put on 1/4 cto and bounce off ultra bounce.
  9. Only thing I would add is that most people who do succeed on a high level either have incredible safety nets (ie independent wealthy or connected families) or at some point do take some big risks. There's no free lunch. If you love it enough you go for broke, but that's not right for everyone or honestly even a smart/healthy thing to do in most cases. Sounds like you have a great mindset though and a solid plan B. Wish you the best of luck!
  10. super speeds are all really soft wide open. you are using only the the center of the lens though. If your ok with a softer more halated look then your fine, but if you want it to be tack sharp you want something more modern. you can use anything....even something like the Sigmas or Tokina's would work well. the 16mm will give the picture enough interest that totally clean sharp modern glass will still look great.
  11. When I was young I remember getting on a bus in the town I went to film school and overhearing the bus driver had gone to film school. I remember thinking to myself with a snide attitude, "he must have really **(obscenity removed)**ed up" now I think.... Hmmm Bus Driving, not a bad gig.
  12. It's a really hard industry. when I was young people told me only a percent of a percent of people get to direct or DP films with real budgets. I didn't believe them, but now I know, its true. Of the people I know who went to film school maybe 2-3% make a living as a DP, and less get to shoot work they really love (most do commercials). Other have different jobs in marketing, work in the camera/lighting department, film events, or left the industry all together. If you have the drive and love for it then go make some incredible work with very little money that shows what you can do. You get work from networks and your portfolio. You need both to make it happen. Figure out what you want to specialize in and go after it, the commercial scene, the indie scene, and the documentary scene are all totally different people with only a little overlap. As for your website you get work from the work you make. Events will get you events, corporate interviews will get your corporate interviews. For now maybe its fine to combine them for your website if your just starting out, but if I'm looking to hire a documentary dp for a project I want to see a reel focused on that and maybe some narrative tossed in. All this said, most people I know who are more creative and going after features or doc work struggle to make money. even those with "successful" indie films that have shown a prominent festivals and have sold films for real money. It's still a very unstable living for them and many teach at a college, do commercials, or even work in other industries between films. The less creative the work the more stable a career you can find so keep that in mind. the event work is a good plan B if you can stomach it. Most people I know who are successful are totally obsessed and love it too much not to do it. You often have to make a lot of sacrifice to find success so you'll have to decide if that's right for you. If it is, it'll work out somehow. just make great work, be a nice person, and keep hustling.
  13. Soft light is by nature lower contrast and gives less perceived sharpness. It sounds like the scene was light with a huge frontal soft light, which would give a flat appearance. Do you have a still from the footage to share?
  14. I've read the white papers and understand the idea that the texture is created in the processing pipeline, But I don't actually understand what parameters are really being managed to create these different looks in the pipeline. They say its a complicated system of 30+ parameters in the image processing after the sensor, but they don't give any specifics and it all very opaque....what is really going on in there? For example they offer textures that have "grain"...but where is this grain coming from? and how is it different or any better then adding grain later on in post other it being baked into the images being recorded?
  15. I think your overly concerned with the process. Different DP's have different ways of doing things based on personal preference. Some love the flexibility of retaining all the image data they can and working with the picture in post, others like capturing something closer to the final image in camera. experiment and you'll sort it out yourself. resolve is free to download, I would get it and play with your images, shoot some tests!
  16. This looks like diffusion filters + Vintage lenses but some/most of it might be accomplished in the color grade. The FX isn't from necessarily blowing out the highlights. filters like this are effected by brighter areas of frame, so you don't really need to blow it out to see the effect, just keep it pretty bright. I'd think in the case of the fish tank the DP would keep the highlights just on the edge of clipping while still trying to preserve some detail, but everyone has a different approach to this. The film was shot digitally so my guess is regardless of if they used filters or not atleast some of this was created in the color grade. Post Halation and diffusion effects have become better and better in recent years If you want to re-create the look simply you might find something like a 1/4 Black Pro Most filter creates a similar feel.
  17. slide forward a hair, open that window, turn off all other lights. good to go. costs $0
  18. shooting through glass is very simple. imagine it like a filter in a mattebox. If there is no light behind the filter you will avoid reflections. So all you need to do is create a black box around the piece of glass so nothing is reflected in the glass from the camera side. the lighting on the man seems like two sources. One source above from the rear third acting as a key light and then a low level fill light for the far side of his face and to mellow the contrast a bit of the single key light.
  19. depending on the scale and reach needed a trinity might be the right tool. You could also move the base of a jib on a dolly as the move is done to get 360.
  20. What is the shot your trying to achieve? I can't image a need for overhead mounting of a jib unless you are trying to do a 360 degree move around a space while the camera is booming up/down. And even then, probably better ways. It would have to all be motorized too which makes it incredibly complex. I'd work with experienced grips or jib ops to work out what you need for your shot.
  21. light your background to a stop you like (generally 2 stops or so underexposed) then add in a bare direct light from the cameras direction. A good way to learn how to get what you like is just practice with a real strobe on a still camera balancing background and flash exposure levels. Its no different on film.
  22. In general people protect a little extra knowing the footage can be manipulated. Its creates a little safety net to for example overexpose a dark shot .5 to 1 stops from what you want the final result to look like. But you want to get general feel of the shot in camera. You can only manipulate things so much in color grade —I wouldnt push a shot around more then a stop or maybe 2 in any direction.
  23. Often you do manage shadow contrast by adding a low level fill so things hold some detail and don't fall to total darkness. That said sometimes underexposure is a stylistic choice (as is over exposure). One trick I learned is to bring stills from shots you like into a program with scopes like premiere or resolve. This can help you see the levels DP's work with or tries to achieve for a certain look.
×
×
  • Create New...