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Max Field

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About Max Field

  • Birthday May 5

Profile Information

  • Occupation
  • Location
    Og from DC
  • My Gear
    Owned too many cameras
  • Specialties
    Screenwriting and sound engineering.

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  1. Does this mean we'll get RED sensors without horridly priced proprietary options?
  2. Yes please DM me photos of the camera as well.
  3. Okay next time I meet another random techie in my day-to-day life I'll be sure to record the date, time, place, photograph his computer screen, transfer several gigs worth of test files, get his ID, and swab for DNA forensics on the offhand chance a camera operator disgruntled over how his career panned out spazzes over something I witnessed 5 years ago.
  4. This was 5 years ago that I was physically in his workshop and witnessed the camera doing said recordings. He didn't have a service listed since it was a personal project that he put together. There are tons of unofficial mods people do to cameras all the time that aren't listed services. Calm down.
  5. I can't remember where I heard this (probably some dumb Google autofill thing) but I read somewhere it resolves up to 5.5K? When I commission illustrations that is the basis for the resolution I choose to future proof things.
  6. Wanted to get the creative input from veteran cinematographers on my boarding of this short I wrote and directed for the promotion of a franchise I'm working on. I took a lot of what I learned through working with cameras and tried to apply it to 2D anime storytelling.
  7. Often I like to go back to very old threads of this forum to see what the active unfiltered perspective was on various things that are now considered history. Unfortunately I think the posts here only go back to 2004, and I was wondering what the in-the-moment reaction was of cinematographers to Star Wars Episode 2, being the first full digital capture blockbuster. At the time was Lucas held in high regard for pulling a move like this for such a big property? Were most calling him annoyingly experimental for trying to make a movie with an ENG camera? I'd like to hear the perspective of it without the bias of today's technological landscape, from people who were there to hear the talks back in the early 2000's.
  8. Hey all, Got a nice deal on some SxS Pro+ cards and was revisiting cameras that used this media format. Off the top of my head it was Sony F3, F5, F55, and Arri Alexa EV Classic/Plus. Are there other solid cameras that I am overlooking? Thanks for any input.
  9. Going back to the original post's analogy with the current AI scare of today, everyone in the industry period is worried about what AI will do to artists whether they are union or non-union. The budgets for corporate and commercial video productions have nose-dived in the last 20 years because digital capture is far easier and more accessible than film capture, most of the upper class in this example is working on those larger union sets so wouldn't feel the brunt of it. The lower class greatly increased in numbers because of lower barrier of entry (friend or nephew with a DSLR). And the middle class (local business commercials/music videos) barely exists nowadays because clients see the cheaper option so don't even consider shelling out budget for a better set. These dynamics weren't nearly as staggering as they were 30 years ago. I feel like this bleak state of video production can paint some of the picture of what we can expect with the AI shift.
  10. This is genuinely surprising given how cheaper digital capture utterly destroyed the middle class of film/video production. Hindsight is 20/20 I suppose
  11. So we are seeing a whole lot about AI replacing the jobs of traditional artists, writers, actors, and more, but I feel like the transition from digital to film over the last 20 years could provide some insight on where this new AI technology might take the industry. Does anyone have any particular stories regarding unions opposing sets that used digital capture? I feel like I heard one fleeting story in the past where actors didn't like it because of increased take ratio... Whether it was on or off camera, what were the particular oppositions in the 21st (or 20th) century that come to mind for digital capture?
  12. I looked through their catalogs and it's a two-fold problem where either they don't have the songs we want or they are only for the playing of at live events and not to be used within recorded media.
  13. Sorry but #6 does not answer "what if they don't reply" which in all likelihood is what happens when you email a major record label.
  14. Have been Googling all over the place and keep getting results for artists getting their songs into movies and not the other way around. Has anyone produced a film before and gone through the process of officially licensing a contemporary copyrighted piece of music into the final cut? It's so hard to track which label owns what artist's catalog nowadays, as well as getting a response from them in general feels like a struggle. If we have songs from multiple different labels, is there some kind of licensing agent who can communicate with the labels on a filmmakers behalf to acquire licensing rights to music easier? Thank you.
  15. Perhaps documentation and camera tests of the URSA 4.6K were throwing me off or trying to get me to push the image due to expectations I have for skin tones after working with better cameras. Last week I was watching an URSA 4.6K versus Amira test and the URSA seriously lost the skin tone battle where everything had these white-ish hotspots and ugly reflections. In this new treatment you have posted I am okay with the shine on the screen-left part of the face, however something in the more shaded part of the cheeks feels off. Here is a link to the video I am referencing:
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