Dylan Sunshine Saliba

Being confined to apartment storage for now as well, I have a couple super small ARRI Fresnel (150 and 300), a couple CFL softboxes, and I too have also found the CREE LED 100 watts daylight bulbs incredibly useful on a dimmer. I can run them off a cheap inverter plugged right into the cigarette lighter in my car. The OP sounds like they have a great start to a great kit and good call adding C100 recorded externally). Stick with ARRI and you'll have good value and resale value. I would love to take their L series LED Fresnel for my dream package. L10, two L7s, and an L5....four lights for ten grand (or maybe just the HMI m18). Same boat as Cine Glass....need more budget!!! :*(

I use two 32 GB SanDisk Extreme Pro cards in my c100 as a backup for the Odyssey7 recording externally. I haven't had an issue in the previous two years I've been shooting internally to the SD cards. I prefer the faster cards for no other reason than transfer of video to reduce offload times and see my dailies faster. I haven't seen any performance difference with the regular SanDisk Extreme vs. Extreme Pro as far as recording issues. I remember my T2i would overheat easier with cheaper cards, but I haven't had to use cheaper cards in the C100 so I can't compare fairly. Capacity wise, I prefer the 32 GB over 64 GB cards because that is a lot of AVCHD eggs in one basket otherwise.

Well, I remember watching a BTS and Vincent Laforet needing a shot like this and he actually just hand held the drone like a steadicam over his head while the operators kind of idled the throttle. I believe he used a bit of a longer lens to keep a safe distance from the actress, but then let go of the drone rig after the tracking shot and the drone flew right off. The shot looked great but was this the dangerous early days?!? Be sure to ask your talent before the shot "Are you willing to DIE for cinema?!?"

The scene the OP wanted broken down looks like completely natural light. The balance of the interior store lights gives it away I think. There was some kind of mercury vapor or some such on top of the store though. I would guess a fast prime stopped down a little and the ISO was cranked up. Myself, I love a china ball on a fish pole with a dimmer combination. I do like Satsuki technique ideas...I'll be tucking those away in my little notebook, thank you Satsuki Murashige!

I just got an Odyssey7 with an 256 SSD and a couple of different power cables from eBay for $1300. Everything was in perfect shape and I feel like a whole new camera operator with the luxury of the OLED. I can accurately judge focus, color and exposure again! (it's the little things) I love when a purchase makes you want to get out and shoot! I can completely vouch for the build quality and usefulness of this unit. I did get the portabrace cover/case for it and it works well as a sun hood / rain fly.

I've learned in the real world, sometimes you need to shoot it all rec.709 in the can, just because of nothing more than preference, time, or budget. They probably do this to simulate changing project delivery terms. I'm not a teacher, so I don't know. I like your tests and thank you for sharing your results.

I was loving DP7, but I'm now seriously considering the Odyssey7Q+ (or even a used original Odyssey7). They are having a decent deal right now on the 7Q+ by throwing in two of their overpriced 256 GB SSD drives for free. Their customer support seems more willing to communicate as well. I've tried to talk to smallHD, but I get no answer. Convergent Design promptly and accurately replies. They are both OLED 7.7, both can cross-convert HDMI/HD-SDI, and both have LUT's. I don't need external RAW (yet), however, I'm from the school of thought where it's better to have it and not need it, than need it and not have it. And don't forget the battery mounts, GOOD Israeli arm, sun hood, cables and a bunch of other expensive accessories that I'm forgetting. Plus, I heard that SmallHD just got bought by one of the big boys, so I'm sure designs will be changing around there (call me crazy).

LUT's can be a great dart on the wall as far as your grade, but the final tweaking of your look is what will set you apart. The fine tuning control of a color correction suite (Resolve or Speedgrade) vs. what is available in your NLE stock or with FilmConvert is like comparing a $2000 guitar or TV to a $200 one. It's all those subtle details that usually add up to better production value. I'm not saying I haven't just drag and dropped LUT's on Log to deliver footage a bit quicker, but on the projects that really matter, send them to the suite and you can flex more muscle, more delicately and with grace. You'll also start to see WHY your shooting in Log and what benefits your really getting from it. FilmConvert is also a bit of a resource hog. That being said, depending on your CODEC / framerate, sometimes a round trip to Resolve can get tricky. And finally, take my advice with a grain of salt! :D

I've been having an absolute BLAST shooting C-log with my C100! Expose 18% grey at around 32 IRE on your waveform (I push interior shots up to 40 IRE sometimes) and you can just throw a LUT and some sharpening quickly to finish in post or you can get crazy with the nodes and push your image surprisingly far for 8-bit 4:2:0 AVCHD. It really turned the camera up to 11 for me! I agree that the WideDR is a fantastic profile to maintain the integrity of your image if your not sure the post workflow will be proper. It looks wonderful if your just handing off the files from camera. Bang for buck, C-log FTW! Just make sure your post workflow is up to it as well!

Mac or PC? I'll check my backup HDD for you.

Nice! I LOVE your labels! But I think there is a crap ton of stuff on there. I noticed on mine that when I mounted a grey card on the back it got heavy and softer sounding, so I just took it off to solve that issue. Maybe the black strip (of gaff tape?) up top near the connection on the front.

I wish more people had the attitude of taking pride in all aspects of their work. I agree with a good bead of epoxy instead of superglue. I also can't help but think the acrylic face is acting like a dampener for the sticks than an amplifier (even though my acrylic slate is super loud). Maybe a slate made out thin hardwood could work for you better?