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Max Field

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Max Field last won the day on August 11

Max Field had the most liked content!

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About Max Field

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  • Birthday May 5

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  • Occupation
  • Location
    Og from DC, Now in NJ
  • My Gear
    Sony F900, Ikegami HL-59, Ikegami ITC-730A
  • Specialties
    Screenwriting and sound engineering.

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  1. So I currently have 2 130wh gold mount batteries which have served well for my older cameras, but the newer more high powered stuff chews through each of them in only 40 minutes. I scroll through B&H looking for the best replacement but the variety of brands, watthours, and prices leave me scrambled and confused as to which is the best buy. Then I considered the used market but came to the conclusion that the cheaper prices might lead to charge times below what's advertised. Let's say you have to purchase enough batteries to power an Alexa for the day, how would you tackle it?
  2. I like the threads where I feel like an expert. Been using tons of copyrighted tracks in my Youtube shorts for as long as I can remember. First off, 0% of a pre-recorded label published track is allowed in a short film without permission, people made up the 15% law because people like to make up pretend laws to feel justified for breaking real ones. Now that statement goes out the window if you have gone out of your way to make contact with the track's original publisher. FAIR USE is a defense, not a right. The best argument for fair use is if the short is a documentary on the song itself. Now the law, an owner choosing to pursue an infringement, and Youtube's automatic content ID system are 3 entirely separate entities ALWAYS REMEMBER THIS. That being said, unless you're making tons of bank or the original publisher has an issue with you, no one is hitting you with a lawsuit. You aren't worth the time and money in legal fees. They like to say they pursue everything, but that's because scaring people from doing something is a lot cheaper than suing people. Youtube will usually hit you with a content ID strike, where they take the profits of your ad revenue and keep the video up. An old punk song from a dead label probably won't have their song submitted to the copyrighted media database, so my guess is you'd get away with it.
  3. A couple years ago I learned about Inverse Square Theory from this forum and it's really helped me get down the math of setting up my lighting. Does anyone have a list or link to other little mathematical tricks like that used in cinema everyday? Thanks!
  4. Would you not consider Vine/TikTok/Youtube sources for film analysis/inspiration? I believe in technical education wholeheartedly but we're just speaking in terms of film theory right now.
  5. The mid tones and some shadows look raised, thus creating somewhat of a desaturated low contrast look. Also some of the blue channel in the highlights/mids has definitely been chopped down for this very yellowish-green spring garden sort of look.
  6. So I think the new RGB LED bulbs with programmable colors are insanely cool, but just not bright enough for any of my applications. Is there some kind of thing that will take 9 different E26 LED bulbs (combining to almost 1kw) as a directional fixture? Thanks for any tips.
  7. I don't see a point in repairing them when they're so cheap to begin with: https://www.bhphotovideo.com/c/product/371923-REG/Impact_KCP_200_Grip_Head_2_5.html
  8. I was scrubbing around Google Images and randomly came across this: Did this B4 version of the RED actually exist? Does anyone know where I could find it? Would be very fun with my Digiprimes.
  9. Shots fired. My high school film study teacher also hated Tarantino pictures. I feel like he's had 2 really great films and the rest were praised over reputation.
  10. Moving in always looks far more dynamic due to the perspective changing (especially on a wider lens), but zooming in can also have its place.
  11. I'd say use harder lighting for the rim/hair lights and softer lighting for everything hitting the front face. The only thing in your post that stuck out to me as tricky is the fact you want to combine highly saturate lights along with shooting in front of a green screen. It'll be hard to get that level of variety displayed in the references while still making sure your subject stays a completely different hue from the chroma-screen in the back. What exactly will be going behind the subject? Specifc images or vague gradients like in the references? If it's just random color splashes, I'd suggest shooting in front of an 8x8 of strong white diffusion and blasting strong party-gelled lights into it from the back. This will give you 100% freedom on color selection. Can even use flags to square off some hard cast shapes.
  12. I understand timecode for long stretches of audio to be synced but why would a sound designer need timecode for a 5 second clip of foley?
  13. I'm a little confused, how can sound effect files have a correlation to framerate?
  14. Could someone please lay out samples or a graph or something similar of the 21fps shooting phenomenon? I've seen a few behind the scenes clips where a glimpse of the monitor shows they're recording in 21fps and to my understanding this is supposed to make the motion slightly snappier? How does this playback different from shooting 24fps and slightly speeding it up? Or they keep it at the same right just to make it a little choppier? When 24fps is played back into 30fps there's a 2/3 pulldown, is there a pulldown equation for 21fps into a 24fps project? Thanks for the science on it.
  15. I can't go back to any skins tones other than Arri skin tones
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