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Eon S Mora

Basic Member
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    4
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About Eon S Mora

  • Rank
    New

Profile Information

  • Occupation
    Cinematographer
  • Location
    Chicago
  1. Eon S Mora

    LED-G4

    That's a neat trick. Have you noticed particular patterns that correlate with certain light characteristics?
  2. Eon S Mora

    LED-G4

    Hi there, Just did a scout at the house we'll be shooting at, and it's full of new-fangled LEDs in every room, all set up to be controlled via wi-fi. It's mostly overhead can lights with LED floods, and ornamental fixtures with the new Phillips edison type bulbs. However I came across some LEDs I've never seen before in the kitchen's hanging fixtures. They are 360 degree bulbs that use the old g4 style fixture. She said the bulbs were Chinese knock-off's that were cheaper. Attached is a picture of one of the replacements with packaging, and another of them in action hanging over the i
  3. Eon S Mora

    23.98 vs 24

    Thanks guys. I'd worked on a film that had shot Alexa last year and had made the choice to shoot 24.00 fps. The DP was of a film background and kind of a purist. Since then this question has been lingering in my brain, especially when people bring up the "cinematic" quality of 24, and what the heck it means now that everything is exists digitally, even what we shoot on film.
  4. Eon S Mora

    23.98 vs 24

    My question is partly technical, and partly just a curiosity: When shooting digitally, has anyone noticed a difference between shooting 23.976, and straight 24.00 FPS. I know this is the nearly negligible difference, but these are two different rates of capture. is there any perceptive change in how it feels or the way movement is perceived? Just some context: shooting a film with some folks that are used to shooting film. The project in mind will end up with some sort of theatrical release however it'll obviously be shot, finished and watched all digitally. If this
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