Max Field

Thanks guys, oh one last thing. When it shoots in 2k does the sensor get cropped? Or does it capture the whole thing and downscale?

I know many here are CineAlta fans (and haters) so I'll dump the following questions here: 1.Without the expansion box, what is the highest possible quality of recording? ProRes 10 bit? Something comparable? 2. Is the dynamic range really 14 stops? 3. How are the skin tones? 4. Does it chew through batteries? 5. Is it good at around $6000 or will the camera go lower? 6. What is the sensor size? I know "Super35" leaves a bit of variation in millimeters.. Thanks to any and all who can answer!

The simple way of putting it is you need to be true salesman, sell them on how extra money towards the camera/lighting department will significantly improve the overall quality of the project. Realistically, the most common thing you have to deal with at early stages is the producer just not having money in general. Knowledge is power. If you can go on and on about other things where money saved the project (while making it entertaining to hear) then you'll have a better chance of getting what you want. I have no idea how anyone quiet could make it any business.

Additional info: Setting these up has been a 1-man job so far. I'm able to get them nearly level but not perfect. How essential is it to get it right on the nose? Also when I put in the lock to do the final extension to wedge into the ceiling, is there such a thing as over extending them into the ceiling? Or the tighter the better?

I bought 2 of the Impact Varipoles for a shoot, wedging them between a standard 8 foot drywall ceiling and a thin piece of wood over a carpeted floor. Before I begin hanging a speedrail between them, what tests should I do to make sure these won't slip out from the ceiling? I really do not want a lawsuit on my hands. Thanks for any tips!

I was in talks with Tom Pickard but their plan made it so you had to get the general liability with injury coverage etc and I didn't need all that. I got Athos Insurance this year.

It was wild how they made one location last an entire feature. I wonder how that film would've done without A-list talent.

Source Filmmaker (aka SFM) is the big one that people are using on the indie scene. I've done a few shorts myself and compared them to stuff people from video game backgrounds were putting out and what I can definitely say is if you want your imagination to become completely free without physical or budgetary constraints, try making some SFM shorts. People who come from video game backgrounds pay very little attention to lighting and still blocking and opt for moving handheld camera 24/7, which really loses its flare when they end up shooting the whole thing like that. Use programs like that to pretend you have $250k to shoot a short.

Just wondering if we could compile a list of suggested views that encapsulate great blocking and framing. Nothing on the scale of Metropolis with large elaborate sets, things that anyone is physically capable of in terms of budget, but need a trained mind to consistently do. Thanks!

Do we know if TeleFilm actively reads this place?

I'll be real, if someone screws me over in business I become incredibly vengeful lol.

I think you're right on that one. My statement on Netflix still stands.. which is treated like being in the movie theater nowadays by the average civilian.

Not sure if they're comparable, but I see tons of solid state consumer electronics from over 30 years ago still working like new with minimal maintenance. Digital cinema cameras are barely 20 years old, are we already seeing them dying due to "old age" as opposed to continued physical trauma?

I'm not saying this to come off as brash towards you (just to contribute to discussion), but I am sick of people saying that Netflix and Amazon Prime are just handing out distribution deals left and right. It's still an extremely connection based industry, like it's always been. If the floodgates were really that open I would've been producing my own show on Netflix years ago.

Maybe I don't shoot as much as everyone else, but every time I see $1000 off on a camera because it has 3,000 more hours than the others I immediately take it. Never had a problem as a result. Do camera hours for solid state technology really mean anything for the first 20,000? I hate when trying to buy an old camera and the guy is like "well this is low hours for a body this old so I can't lower price" and I'm just like "they're gonna stay low because no one's paying that much for it." Some (most) owner/operators are idiots when it comes to sunk cost fallacy.

The actual biggest fear no one mentioned is for automation and phone filters to wipe out low-mid level cinematography as a whole. Videography is already a practically dead business thanks to the iPhone and the cushion most of us have had is being in the business of making the videos look cinematic as opposed to just making videos. Much harder for computers to filtrate the general look DPs are going for... but they'll eventually find a way.

...Not getting paid.

This had a great feel and look as others have stated before. Sorry to ask, but I'm extremely curious how such a small band was able to afford a music video shot on 35mm? Are they backed by some label throwing a ton of money at the situation?

I might've just gotten lucky, but I got my Alexa for way less than what I'm seeing a lot of the newer Sony cameras go for now.

Literally the only reason I like my Arri Alexa EV is for how the skin tones blow out so naturally and how the lips on faces are always this proper pink color. Are there less expensive camera options which surprisingly have the same effect? Please show minimally graded samples? Thanks for any input!

Take note of the blue light bleeding in at the top right corner: This was shot on an Arri Alexa EV with a 50mm Zeiss CP2. 2 Arri 650s about 7.5 feet high pointing down at a cross to backlight the talent. The big question I have is on the science for intentionally creating more light bleeds like this, I'm in love with the look. I try to trigger it through just fiddling with angles but I have no real consistent way of knowing how to make it happen every time. Is it dependent on the lens? Does sensor size affect it? Intensity of the light? Please, any knowledge you have on this will benefit me greatly. Thanks as always!

Just saw this on Christmas. Aperture felt wide open the entire time, was it one of the more difficult pictures to pull focus for? And did you go to the Checkers across the street from the Bronx stairs after wrapping? I visited the stairs and was way too happy to see a Checkers was right next to it. Also wanted to comment on the scissor stabbing scene. It's very rare, if not the first time, you get to see that level of horror movie gore with a completely casual tone. Maybe the most memorable scene of the film. Most visually impressive film I've seen this year... but my opinion doesn't mean much as I've only seen like 3 movies this year...

Let's watch RED Cameras plummet even further on the used market in 2020!

Which AC's job is it to calibrate the flange distance on each lens? I tried doing it on one of mine and could get it close but never exact. Or is that the job of the rental house when preparing a camera/lens package? I'd love to go purely off of measurements because I'm sick of having to squint-eye the monitor all the time.

I've said this multiple places: Never found a Rode mic that beat every competitor at the same price point.