Jump to content

Max Field

Basic Member
  • Posts

    2175
  • Joined

  • Last visited

1 Follower

About Max Field

  • Birthday May 5

Profile Information

  • Occupation
    Director
  • Location
    Og from DC, Now in NJ
  • My Gear
    Owned too many cameras
  • Specialties
    Screenwriting and sound engineering.

Recent Profile Visitors

81875 profile views
  1. Over the years I've heard the concept of taking 4K 4:2:0 footage and finishing in 2K and it becomes 2k 4:2:2 by nature of oversampled data into a smaller imagespace. The logic makes sense to me but I can't figure this out for the life of me... Do you need to manually transcode/convert the footage to achieve this? Or will putting it into a smaller Resolve file resolution just automatically achieve the oversampling result? I haven't had the time or situation to try it myself. Thanks as always.
  2. Oh well I think a top priority Disney film will have higher standards than Disney plus exclusive content. Outside of that echelon, I think it is a problem all across the board regardless of short film, commercial, anything.
  3. Yeah think about it, digital is so good it makes people who are trash seem passible lmao
  4. This might be an odd one but I feel it could lead to some insight... or another fight thread. As I've worked on more and more sets and spoken with others passionate about the product itself, I'm noticing that the overwhelming majority of discussions always end up "they don't care they just want clout" or "he got that job cause they were friends" and so on and so forth. This is not just film production. It's audio production, acting, performing, etc etc. There are many days where I see people who are not remarkable by any means get work from client to client and pretty much just ride their resume to the bank. Obviously there is a baseline of education needed to work in any capacity, but that's not really the story for the long-term Cinematography.com poster. We're all mad men who will research and argue concepts that most small to mid-level sets I've been on aren't even sentient of. I even hear on some of the biggest shows there are plenty of people in non-entry positions who are bumbling about. I guess what I'm wondering is; once we get to a point where we know how to set up the camera, make sure the image is decently exposed, and have a basic understanding of scene composition, is there a quantifiable point to learning beyond that when the entire business seems to be based on networking alone? Especially post-covid I'm seeing tons of mistakes in various shows by big market studios. I personally won't stop learning, but the more I see unqualified people (judging off what they produce and nothing else) getting hired it seems like going to social events holds a hundred times more weight than actually learning the craft.
  5. Hey long time no see, To clarify I am not asking how to get acquired by Netflix. What I am asking is once acquired by any of these streaming services, how exactly is the money handed out to the creators? Will some contracts pay a penny per stream? Do they give you a flat fee outright for X-time of usage? How does the negotiation work for a small producer vs a larger company? I worked on a film that got on Amazon Prime video once, however it seemed to just be a pay-per-view thing as opposed to actually being in the streaming rotation for a prime subscription. Any experience or insight on this would be greatly appreciated because google isn't giving clear info.
  6. This reads like blackmail
  7. Is there any way to do an HSL Qualifier so you could pinpoint the hue of the eye whites and shift them back away from the blue tone? Also I think the first shot looks pretty good, though I do see the problem far more with the second shot.
  8. Have been wanting to look into camera drones to throw into my arsenal for a year or two now but I can't tell what's prosumer and what actually produces an image quality cuttable with something like Blackmagic or similar dynamic ranged cameras. Are most people just buying drone rigs to put their pocket cameras in? Or is the usual practice buying a drone with the camera just built into it? What are some common models that are most popular for professional productions? Will they deliver impressive enough dynamic range for freedom in the grade? Lastly, how big of a learning curve is there to get a proper panning or zoom out shot from a drone? Thanks for any input, I'd look it up on Youtube but I trust the opinions of you guys more.
  9. This is the most blunt I have ever seen Dom and I've been here for 7 years.
  10. It's amazing how much Jennifer's Body has blown up in the culture lately, hope David is seeing the memes his work created!
  11. Hey all, In the last couple years I've been seeing the Panavision Primo Prime lenses come up for the technical credits of a lot of movies I watched back in the day. Was trying to get more info on them since they look incredible from the tests I've seen. There are many pieces of gear which get "Panavised" (Panavision Genesis is Sony F35 for example) and I was wondering if these lenses had a counterpart I was not familiar with which can be found on the used cinema lens market? Or if anyone knew of a prime set with very similar look and philosophy to the Panavision Primos? Would @Dom Jaegerbe the expert on this one? Thanks to anyone who can share their thoughts on this as always.
  12. Could it be they're sometimes using AI faces over stand-ins now for retakes? We've seen it with Paul Walker and Mark Hamill now, imagine how many other times these studios preferred to keep it under the rug.
  13. In your opinion what is the best tiny camera with a side-swivel screen and internal 4:2:2+ recording? Been on the hunt for like 5 years for one.
×
×
  • Create New...