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Jay Young

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Everything posted by Jay Young

  1. Overexposing film is a good tool for general use if you want more density, usually never a bad practice. as for the lens, I’ve owned a few, and they were notorious for poor quality after all these years. They are pretty easy to disassemble and adjust.
  2. Hard lighting an interview. I am not as photo-ready as talent! Lit with 650s and 1k zip. No time for hair light. Photographed with the Blackmagic 4k pocket, and an old Nikon. The BTS photographer for this interview wanted me to light it which I did while also lighting the feature... which was very stressful. However, he wanted something different, so we went a little old-school. Final tweaks were with actual talent of course, and we took the wall down quite a bit in the end. The camera is too sensitive. Really wish we were shooting on a real 250 asa or slower, then we could play with tonality. The video is three RAW clips, followed by two different LUTs and a hand colored option.
  3. I want a Tungsten quartz halogen fresnel I can aim in any direction or orientation. i want an led that has the near infrared low wavelength spectrum covered.
  4. I've used those miniature lekos before, they are great. Anyhow, I'm still going to build a small beam projector. I'll let you know how it goes.
  5. A spot par can is probably the likely choice I guess. I just wanted something Physically smaller than a Leko. I’m going to keep working on my end, thanks for the suggestions.
  6. I’d love to build or have built some small beam projectors. anyone have any experience? I’m having trouble finding sources for reflectors. I would really like something less than 1000 watts, preferably like in a small pepper or tweeties housing. thoughts?
  7. Well, to get back on track, I would like to shoot a 70mm picture. Ultra Panavision would be great if the subject matter warranted, but a good Musical would be great too!
  8. Having shot with both cameras, ACES will be your friend.
  9. I’m working a digital show now, they have gone over, every day, rewritten the script multiple times, and can’t decide which version of dialogue to use. So far, B-Cam alone has shot 88 mags, which is about 44 hours of footage, based on data rates of 6k X-OCN on the Venice with 512Gb cards. They have pushed so much our last day call sheet had 16 pages for the day scheduled. just because of indecision, poor planning, and the inability to clearly communicate, they have more than 100 hours of footage to go through. This is an estimate of course, I have no idea what C-cam /D-cam shot. Of course if they shot on film, it would cost them a lot more. Hard costs, that producers apparently hate to pay. And those costs could be justified instead of paying overtime on the back end. I know they have spent far more money in schedule changes and overtime than film would have ever cost. people have see in this thread that it’s a good thing content is being created. I disagree. This content will make money for the producers, I hope, but the content is not good to me personally. It’s not something I would watch. And, now that there is a choice of medium, the only conversation a lot of people have is cost. I feel the conversation of medium choice should be artistic also.
  10. No doubt! I had the lab do a clip test, and while there was a significant blue shift, it really didn’t seem all that severe. Still working with the footage. I believe a DPX log scan will produce the best result here, instead of trying to deal with ProRes in this situation. Happy shooting! As for the 85 filter, I will likely forgo. There are plenty of others who do not use the filter and correct the blue shift at the lab. Not saying either is correct, just personal observations.
  11. Uncorrected still frames from the underexposed shots. T16 on the lens, ND.9
  12. https://vimeo.com/364382616 Prepping for a period piece which will be shot outside, in daylight. Fuji 8553 35mm test shoot here. I sent clip tests to the lab which reported two different shifts in the two different batches. The first half of the video shows the first batch which is noticeably better than the second batch in the second half of the video. There is a high blue shift, but no more so than I can judge Tungsten film shot in daylight. I have corrected the blue shift, and have found that this particular film should probably be rate about 160 or 125. The ND filter did not help the image, and I will likely refrain from using it during the shoot. Either I did my math wrong, or the stock really needs more light. Some test shots out doors, in full sun, clear day were rather underexposed at T16 with ND.9. This is proven again by the shot of the flowers which was shot at T5.6 with ND.9 filter, and the shot of my face which was T16 with ND.9. Thoughts?
  13. I just wish they would stop pushing resolution and bring back global shutter. The original URSA was an excellent camera. The 10" built in screen was less excellent, but the image was nice.
  14. I don't want to be overly harsh, but its difficult to find many positives in this film. For a huge special effects film, the explosions, fire and gunshots were probably the best I have seen. They certainly spent money here. Some of the suspense was created in very nice editing, and some of the best visuals in the film were created with plain old natural sunlight. The opening doesn't help the digital sensor at all, lots of scenes are shot on a long lens for no reason I can discern, and the overall look is simply chaos. There are multiple buzzed focus shots from shooting wide open, and most of the film feels like it was shot on a 100mm lens. With 30 producers on tap, I can't believe someone didn't say something during screening. However, I'm sure I have no idea what makes a profitable film these days, because this film grossed between 50-70 million in the past three days, on a 40 million budget. Has anyone else seen it? Care to guide my eyes to the goodness? I can't see it.
  15. Due to life changes, I am selling two of my cameras. Arriflex 35mm IIc: Adjustable shutter model 4x Mags (1x 400', 3x 200') Matte Box w/hard mattes New battery included with 4-pin xlr cable. 3 Original Arri B-mount Schneider lenses included 24-fps Crystal Sync motor Wild motor 4-perf movement About 2000' of film, maybe more. Kept refrigerated from new, all expired. 2 Pelican Cases ASK - Changing bag, insert slate, Tape, User manual and repair manual. Camera had recent CLA, I have run 400' through it - works great. Asking $3800 including shipping to 48 US. International shipping, please inquire. This is a heavy case. Link to Photos: https://www.dropbox.com/sh/uw4ixn52ouzm7sd/AAC8X7mOhAmdnCr1nPV_370xa?dl=0
  16. Jay Young

    Next step?

    CP-16. You can still get belts, and clutch pads, and usually they come with a pretty decent 10-150 Angenieux zoom. Sure, you have to thread it, but they come cheap. People still CLA them. The only downside is the electronics. If they go, not much you can do. I use mine all the time as B or C cam.
  17. If that image is correct, whats the real difference between 100 and 1000? Seems to me you would loose more than you might gain.
  18. Ha, J.D. , most of the time, I find myself running around yelling at people because they don't know better. Someone has to teach safety, and more often that not, its me. I was, however, only speaking of the lamp heads.
  19. LED's can be iffy. HMI's are usually fine but we like to cover the ballast with some rain shield. The heads are hot enough not to really worry about but we always cover those with Cello Flex wrap - the metal wire in plastic. For Tungsten Fresnels, we usually just let those go. Monsoon, Hurricane, whatever. If the Gaffer or Bests get a little worried, we will but some cello wrap over those as well, but Tungsten is nigh indestructible and hot. The problem comes if you turn it off. If you are having lightning, and the genny is switched off, then I start covering lamps for sure. But so long as they are on, and its raining, no problem. The only time I lens has ever cracked on me was on a Joker 800 in February when it snowed. Nothing we did saved those lenses.
  20. What did you end up using as your sun source in that very first shot? Looks great!
  21. This was color graded by me, of which I am not the best so if the color is off, its totally my fault! I can put up some 4k frames when I get home. Currently in Atlanta for Cine Gear!
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