Max Field

How do you reckon the fill is being achieved? Bounce? Or a ton of soft lights set to be 2-3 stops lower than the blasting tungsten? I'm admittedly far more curious with how the shadows are filled.

Was watching season 5 of this show, shot by Gale Tattersall, and was amazed with these establishing shots for a psych ward waiting room. I can gather how they're backlighting the caged windows (no idea of what kind of fixture), but I can't figure out how they get this softly lit grungy greenish look in the lower mid tones. Does anyone have any ideas on the lighting breakdown? Thanks to answerers.

Do you have a link to that clip anywhere? I'd be interested to see how it transitions.

Seeing what I could get for these: First up is an Arri Alexa EV Classic with high speed license. About 8600 hours. includes flight case, viewfinder w/ cable, vf brackets, gold mount plate, power supply, wedge adapter, and a slew of cables I can sort through later. Asking price is $7,500 buyer covers fees and shipping. Next up is a 4 lens set of Zeiss CP2s 21mm, 35mm superspeed, 50mm, 85mm superspeed - all include in a flight case. Asking price is $9,500 buyer covers fees and shipping. Let me know if you have any questions!

Could it have something to do with how dynamic range in the highlights/shadows shifts depending on where the ISO is placed? 2500iso will get a different spread than 200 iso according to these charts I've seen

It was a fine film but after you've seen DTRT, Bamboozled, etc it's not even close to Lee's most powerful work.

The metal construction is definitely valid (would like to pay an extra $1000 for an all metal pocket), but the komodo has better mounting options because it requires so many attachments to even run at all. Where is the price tag once you get all the attachments with it? Pocket 6K gets to like $3500 after all necessary attachments. Can this little RED record for over an hour without overheating yet? From the tests I was seeing, the pocket 6K looked more like an Alexa than any other BM camera before it, Arri-look is king in the book of most.

It's gonna be one of those things where Pong is credited as the first video game ever because the general public hasn't even heard of Spacewar or Tennis For Two

Could anyone explain the $4000 difference between the Komodo and the Pocket 6K?

I recall reading about that transfer last month and was astounded by how they had to handle terabytes of data in the early 90's.

Diegetic meaning meaning organic sounds from foley/action and not a soundtrack. Watched the BTS for American Graffiti and a lot of the sound design in it took a lot of mic placement into account, and moving the mic placement while recording in sync with the footage. Like when a character walked out of a party, the foley artist moved the mic further and further away from a speaker play the party music to create audible distance. Before they would just turn it down on a slider I'm guessing. Further fuel for EQ never beating a good mic placement. A similar technique ended up being used far mo

Curious to see what we could add to my list here, a film title and what it was the first to do: Barfly (1987): First to use legitimate Kino Flo fixtures American Graffiti (1973): First to write scenes to pre-existing pop music, also advanced adaptive diegetic sound design. First to shoot night exteriors with available light. (Also might be the first non-historical "retro" film?) Attack of the Clones (2002): First big budget feature to be shot entirely in digital HD.

I'm local to NY and have a few Arri and Mole Richardson tungstens for sale, you could get a few and still be within your budget of $1000. They're how I started out with lighting, they still pack a punch.

After it's release almost 2 years ago, the 2 part documentary Leaving Neverland (about Michael Jackson's alleged crimes) has been greenlit for a sequel. Of course the Jackson estate is bombarding them with legal suits, but in all honesty, all I can think about is the crew. Would a DoP or AD worry about a film that could potentially get them blacklisted from a big chunk of the industry? Does the average hiring producer look at things like that for positions other than Director or Writer? There's been stuff like MadTV which has been mean towards public figures but never attempted to se

Trusting other crew members is extremely hard when you know they aren't taking it as seriously as you are. At the lower levels you 100% need to micromanage or your production will be a disaster, not just in cinematography, but any form of direction. I could only imagine the great crew David Mullen here gets to work with on the regular. It also gets to a point where you might be working with other people who are farther than you in the field, and they try something you dislike, however you're too afraid to correct them as a result of their seniority. Micromanaging falls to the wayside in t