Max Field

Screwing around with the controls Davinci Resolve had to offer really opened things up for me. Although it's important to have your own vision going in to make sure you're not just cranking sliders willy nilly.

How long before this thread gets deleted?

Is there any way to rig the Digizoom with a Servo motor grip thing? If so, I may be interested in the zoom.

Well yeah but VHS and tube camera aside, I was amazed at how easy it was to get full coverage of the face without any strange double shadow artifacts on the nose in specific. It's weird how we all go through the gauntlet of film education but then find beginner's assumptions coming back in handy for certain looks. When starting out I never utilized any form of bounce or diffusion and solely relied on a symmetrical raw fill source.

I did a fake talk show that was literally 2 1K MRs at equidistant sides to the face (Starts like a minute in)

The glass of water pouring was my favorite shot.

Was wondering if someone had some kind of resource or experience when it came to securing permission from clothing companies to show a brand in your project without needing to blur it out? I know it's primarily an issue of A: do they even see it? and B: is it even worth their time to go after it? Please let me know if there's an easy way of securing permission, it feels like so many of these companies are too big to give you the time of day.

Like the title says, I wanted to get some DoPs opinions on the necessity of an establishing shot for storytelling. It's cheaper to get a high quality close-up as opposed to a high quality extra-wide so I feel like budget plays a huge role in picking what we show. For instance when it comes to shooting miniatures for claymation... it's a lot more time and effort to get a fleshed out establishing of the environment. Also an establishing shot can also destroy the audience's suspension-of-disbelief for certain elements too. Anyone have professional examples of DoPs choosing to not use an establishing shot?

My review for pretty much every movie of the last 50 years.

Maybe a little more back story from me is involved, where I have a health condition of stress related migraines which would always pop up on shoots with heavier, high-maintenance cameras like the Arri Alexa or RED One. I romanticize the t4i as it was my period of shooting where the image wasn't spectacular but god was it easy to shoot with. I was complimenting them for doing this. I would like a visual demonstration of the oddly-shaped clusters. It just seemed like a vertical squish with certain biases here and there when I did side-by-side tests.

Thought some of you might find the things in here relatable.

At your level (profile says film student), just find actors who aren't soft, willing to take dives. Worrying about insurance and safety when your gear is cheap and no agents are watching over anything is a tad pretentious. If you block out everything properly it won't need to look real on set (won't need to ACTUALLY push her 2 feet to the wall), a lot of low budget fight scenes are crafted in the edit. My overall point is: you're at the level where mistakes are made. Just make movies.

Workaround if you can't find any: Get Sony's XQD to SxS adapter, all B&H reviews say it works equally well.

I have a tripod head for real cheap I could sell you. Bogen 3066, only $80

Definitely need to make sure the audio for your narration is consistent. People blatantly sounded like they were recording on different mics or room spaces. Filmmaking is 60% audio 40% visual

So a year ago my main workhorse was the Atomos Samurai Blade SDI recorder. Every now and then I would turn it certain ways to use as a reference monitor and noticed the motions of my hands had significantly more latency than the regular LCD screen built into the camera (Sony F3 at the time) Had a few hunches on what the issue could be so I guess pick a number? Or I'm a total idiot and none of the above? 1. Cheaper recording monitors have more latency 2. When monitors are primed to record they'll inherently have more latency 3. The SDI output of the camera will always have significantly more latency than any built-in viewing references 4. Something is mechanically broken/set up wrong Thanks to everyone who is smarter than me at this.

Exactly.. also still haven't gotten that check (And yes have paid my taxes)

If the COVID lockdown actually lasts a year how many of these theaters can expect to survive? I think it was Trolls World Tour that did a digital release, charging $20 and when they do digital they keep like 80% of revenue? As opposed to theaters apparently claiming half of said revenue?And then AMC theaters is having that dispute with Universal... Theaters were dying before a pandemic but a year of zero revenue is sure to speed up that process.

After working with some GH5 footage... GH5 is kinda lame for the price. Get a Sony F3 The sensor is tiny and the skintone highlights are very video-ish, making a pretty unremarkable image.

Can I be on it?

Well no specifically gaussian blurring the tiniest details

You can say this about 99% of movies and it's still accurate.

Not to get political but... I've noticed cameras with broadcast workflows haven't dipped a bit. Shock footage for the news is big business right now.

Hey was wondering if anyone else worked with this sensor in the past. It seems pretty nice but I just wanted to know what ISO it's roughly rated at and about how many stops of dynamic range it boasts. Thanks ...and sorry for bringing up irrelevant cameras.

Includes camera body, HDVF-20A viewfinder, and a Miranda MDC-900 HD-SDI converter About 4500 hours on body for the low low price of $1100 plus shipping!