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Alexander Winfield

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About Alexander Winfield

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  • Occupation
    Cinematographer
  • Location
    New York
  1. Great point, Carl, as to the limitation of each tool, while knowing each tool's strong points. Yes, I find when I watch film, my eyes are rested, I can concentrate on the story. But when it's digitally shot (depending what the content is), I find it to feel more like work. But I still do watch digitally shot stuff, I really enjoy Celebrity Apprentice, and stuff like that, but as for drama and cinema, I tend to watch older stuff on tv that was shot on film. In regards to story, I always go back to the police cam on the cruiser dashboard philosophy. There are entire shows of
  2. I guess we could agree the writing is on the wall, or rather, its been on the wall. In fact, cinemas look like the Titanic right now. “Maybe two hours, maybe three, but eventually it will sink. It’s a mathematical certainty.” And things have to change sometime right? Nothing stays the same. Maybe we’re blessed for seeing it early on while many are still in the fantasy of theaters. We can start to think of different ways as to how to present our work. We can see the trend and meet it as it arrives, be ahead of the change. Again, not be Blockbuster. I totally agree, episodic content is t
  3. I love this question, thank you for asking it Bill. It certainly made me look inwards and really assess what's going on, and if I still feel the same as when I started on this journey. It also deserves an honest answer. All of the above. I guess what's bothering me is after writing scripts, learning all I can learn about filmmaking for last 15-20+ years, I see where the industry is heading and it looks like it's eroding. Maybe the industry needs to reinvent itself, maybe I need to do things differently and hopefully it will catch on. In shooting a movie and let's say that movie is dece
  4. Where are the drive ins? Tyler brought out a point I didn't want to, the end of cinema. By the way you can go watch Intersteller on glowgaze.com (I didn't see it). The point is, the general populace don't care if it's film or digital, they just want to be entertained. It's us, who care so much, and granted, I like to think we're artists. There will always be some sort of show somewhere, a nickelodeon, a drive in, but if productions are putting zillions of dollars into a movie, and because it's available online immediately, then they won't get all that money back. Many companies hope to
  5. I concur, lenses is it. That's where it's really worth it to invest your money. Thanks!
  6. As someone who loves film and the process of it all, and wanting a lucrative career in filmmaking, I would fight anyone who says shooting digital is better (than film) or anyone who puts film down for any reason because I believe film is superior. I still do, when it comes to the approach and the finished product. Well, fast forward into reality, I was about to throw down $3,000+ on an Arri BL4 (plus extras), spoke to a few owners who were more than willing to sell. And although I had that driving force to shoot film and have a big ol’ bad camera, something was bugging me, something was ho
  7. I was having a nice conversation with a camera owner and he mentioned to me, according to conversations he had with other camera folk, that movie film cameras are set to appreciate in the near future and I wanted to post this to get some feedback from the community here. I do agree with him, since these cameras are not being made anymore, film is still available and people enjoy the film look and working with film. These cameras could turn into a nice commodity and maybe hard to get your hands on in the future. Love to hear your thoughts, Alexander
  8. Thanks Mr. Mullen. I definitely feel that we're going to be seeing a lot more Super 16mm and even Super 8mm shot projects become a lot more popular in the future. And I say that for a few reasons... 1. Filmmakers will be able to come out with a different look, hard to replicate with even computer effects. 2. I don't know about anyone else, but I see colors in those two formats which I don't normally find in 35mm and/or digital. Maybe they're just more pronounced in those formats. 3. And lastly, it's cost effectiveness.
  9. Does anyone know if Super 16 shows like The Walking Dead, and other S16 shows in the recent past (That 70's show, Gilmore Girls, earlier seasons of Psych and Burn Notice) were scanned at 2k or 4k? Thanks!
  10. Regarding box office numbers, let's not forget about inflation keeping those $$$ numbers above water.
  11. Wouldn't that match the ratio of film movies to digitally shot movies that came out in 2014? Last week, when I went to the movies, I got there early and looked at every theater in there, there's like 15 or so, and most, except the movie I was watching and Taken 3, was digital.
  12. Thanks Mr. Compton for the correction, I'm terribly sorry to the community for posting incorrect information. :)
  13. I completely understand what your saying regarding workflow, but at what cost? Going back to my original argument, "I don't hear people raving about movies these days (especially digitally shot movies)," and "shooting digitally does not appear to be having a good effect on the movie industry as a whole." I went to the movies last friday night and it was scarce, in a major area inside a huge mall. Now why is that? Actually what I do hear people talking about are TV series, quite a few actually. But one specifically I would like to note for the sake of this argument. Isn't it interestin
  14. Okay, hold on everyone, take five, after reading some of the comments I gotta weigh in on all of this... When I said 'boycott', it didn't start out like that. I just noticed that I didn't have a desire to go see movies shot digitally so gradually I only went and paid for movies that were shot on film. Okay, then after that...it turned into a boycott. You can just say I'm voting with my wallet. Mr. Bitic mentioned before, "Why have people (producers since they're paying) all of a sudden chosen to not shoot film?" I may have an answer for that, Maybe, and this is only my opinion, but the
  15. Whew! After reading your posts, and checking different lab's websites and your blog Perry, and since I'm starting out, I think the prores444 is the best way to go. Maybe on the second job, I would have learned more, and maybe can experiment some. One thing that did surprise me, on the Video & Films Solutions website, their prices, are .21 cents a foot full aperture for 2k, and a $1.05 for 4k (I imagine these are the going rates, still looking at more websites. Colorlab didn't have 4k prices from what I saw). I realized after some calculations that even on a short, this is quite a d
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