Dylan Sunshine Saliba

I just found this guy on the youtubes the other day.

Mole, no contest.

It's just another delivery format as far as I know.  I always have separate output workflows from the original material for different delivery methods....TV broadcast, DCP, internet, DVD or BluRay all need finessing of the sound and picture for the final product to insure consistent results between them all.

Someone with more experience here may know a different and more specific answer than me.

I honestly think that power is power as long as it's good, clean power!  Here are my DIY 150 watt hour V-mounts that can push 15 amps no problem.  They are not pretty but heavy duty and super CHEAP!!  I also can just adapt to gold mount when needed (because we all love adapters in between poop!).  More and more v-mount these days it seems.

I use "Shot Designer" for overheads and "Shot Lister" for the shot list.  "Sun Surveyor" to double check where the sun will be through out the day.  "Cine Designer" is a neat tool but I have yet to be able to incorporate it into my usual workflow.  If I'm fortunate enough to have floor plans or some other architecture plans given to me in advance I use them as the base layer in "Shot Designer".

I only have the first version of the Canon 70-200mm F2.8 L IS, but it's been bulletproof!  The only weak spot is the flare in the back lit subjects.  The mark ii has fixed this problem.  I haven't shot with the mark iii yet.  It's worth the money in peace of mind as well as resell value.

The biggest issue I've had so far is punch.  LED's just don't have the punching power that a tungsten has.  Even my wonderful Aputure 300d can't compete.  Another few decades and perhaps they'll get that worked out like the CRI was (close, but certainly not the sun).  There are many benefits to LEDs but just like camera's, there is no such thing as a perfect one.  It's always gonna be a compromise IMO.

I've made my own solar generator for doing this.  It works wonderful for remote field locations.  You can get a pre-built one from GoalZero or a few boutique makers.  You're basically limited by panels you can carry.  The generator should be lithium ion based so it's lighter vs the lead acid battery ones.

Thank you!  Oooooh the blood.  I actually did this one to get over my phobia of working with blood on set (continuity, resets and clean up).  I agree it was too cherry in tone.  Blood is an art form like all the other jobs for sure!  I missed the gun barrel cap.  ?  Thanks for checkin it out!

On 3/20/2019 at 12:05 PM, Bob Speziale said:

Amazon Prime cost $156 a year to join.  

Ok, I was going to put it on Vimeo, but they are being a bit greedy IMO with their subscription scheme, so here is a link for the youtube!  Also, the Amazon version is actual 5.1 surround sound whereas youtubes is only stereo.

22 hours ago, Bob Speziale said:

You have to be a member of Amazon Prime to watch it. Amazon Prime cost $156 a year to join.  

It's true, you have to either be a prime member or have a friend who is and watch it with them.  I completely understand not everyone has Prime (although I was VERY surprised at how many people actually do!).  I'll be releasing the film on Vimeo shortly so that everyone can see without the hassle of commercialism.  Honestly it was an experiment to see what the returns for an Amazon release could be.  Problem was I took to long in post and they dropped the rate from $0.15 per hour to $0.04 per hour streamed.

I got my short film up on Amazon for the US and UK.  Honest critiques welcome!!!

Well, I watched this a couple months ago and I'm excited for the second part to come out! Liquid cooling a RED seems plausible.

My buddy got one of these. We've shot a few commercials with it so far. Great image once you get to it. The menu system is AWFUL! I love having both HDMI and HD-SDI for outputs. The screen is a shitshow so make sure you have an external monitor. We are planning on shooting a pilot this summer so he wanted 4K. Overall the camera has impressed me.

One thing my mentor has taught me is being able to scale your crew / budget is a very important part of thriving in this business. +1 on the no slate being a total buzzkill!

Thanks for sharing Shawn! That confirmed my suspicions.

I just watched "Get Low" last night with Duvall, Spacek and Murray. The house on fire during the intro as well as the man falling out look too real to be CGI. Any guesses or knowledge of how they got this amazing shot?

I've been shooting with my MKI since 2013. It's been bulletproof for me. I've figured out that the sensor likes a lot of light, meaning expose as hot as possible while keeping your highlights barely in bounds. I've gotten clean footage @ ISO 5000 using this technique. Also, be careful when shooting in C-LOG, much more prone to shadow / sensor noise with this profile. The native ISO is 850 so I try my utmost to keep it there and the shutter @ 180 degrees. This just leaves the aperture and NDs for setting exposure but it's plenty.

Negative fill helped me while shooting up in the Pacific Northwest. The diffusion nearby was great if the sun escaped the clouds and trees.

I hadn't noticed the Mole Tener LED Phil, that thing is a BEAST!!! I've been extremely happy with my Aputure C300d since last November. I've made my own batteries for it and I can get some crazy long run times now.

My "One Man Band" shoots often range from super simple, quick and dirty B-roll all they way to full interviews at multiple locations. Properly assessing what might be needed versus what my back can handle carrying, setting up and breaking down in the given time range is a skill I'm still developing. I'm a big fan of keeping a schedule and I really hate being the crazy guy futzing around with gear. I've got an Aputure 300d that can be overkill for a key, but once I put the softbox with grid on it there isn't anything that the dimmer can't knock the stuffing out of. That light runs on big V-mounts but worth it for the speed and portability factor. I also have two 3.5x6 foot 5in1 pop up panels plus a couple cstands with boom arms that allow me to diffuse/flag/bounce the sun or other environments easily. I still bring my Arri 650 as a back-up / rim light but I usually can find practicals and just dial exposure in by hand with gels and the remote squeezer.

I would love to hear some answers on this topic too! I've got my two EOS L series (16-35 and 70-200 2.8 IS) that are no longer supported by Canon for servicing. That kinda support doesn't instill faith for future purchases but I think I can get some more life out of them with a tune up. I'm also in the US.

Good point about editing, Phil. Walter Murch's classic book 'In The Blink of an Eye' about the art and craft of editing covers this topic especially well.

I own two copies of this book. It's THAT good!

I saw a stills photographes of a photographer and I saw that the color was amazing and then I looked on the exif data and I saw that the color space of the image is

YCBCR, so I wanted to ask 2 question:\

 

1) is this matter connected to the colors?

2) if yes, how do you shoot YCBCR or convert the RGB photo to YCBCR color space?

http://www.cinematography.com/index.php?showtopic=67574

I just finished shooting a short that the producer was dead set (for texture reasons) on using anamorphic. We wound up using the C100 (16x9 s35 sensor) and the 1.33x anamorphot adapter with the just the 24-105L to eliminate lens changes and to try and keep the frames sharper. I also have the Odyssey7 which allows a live desqueeze on set. I was happy to see the image was larger than the C100 sensor once properly ran through post production to get the 2.39:1 (2.36:1 technically). The final output is 2554x1080 and it looked MUCH better than the cropping hack I've done up until this point. I also liked getting the 25mm field of view with a 50mm look. I am now officially converted to loving anamorphic and would really like to try a proper PL mount setup (or even m4/3) to see how those old beasts really drive! The adaptor is cute and it works, but focus was certainly finicky.