Max Field

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?

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.

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!

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.

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.

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.

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

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.

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.

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.

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.

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?

I'm a little confused, how can sound effect files have a correlation to framerate?

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.

I can't go back to any skins tones other than Arri skin tones

The concept you had for this 1 minute short is very strong, the issues were in the technical realism: -Frame rate was way too high for an online video call -Digital distortions blatantly looked like filters -The ADR was recorded too close to the mic and failed to match the distance -SFX had similar issue -No one would try to pick up their phone and frame it on the face perfectly in the middle of an assault -No one would say "please" when telling someone to get out of their house -Acting in general, but we don't all have the budget for Robert Downy Jr. I bullet point these out because if you nailed the realism this would be doing millions online and winning awards at many festivals. You had the right idea, executing it is part 2.

And then there's a sale on tapioca pudding and they all rush out of the door and simultaneously die of a broken hip.

I wonder if there was a screenwriters forum in 1995 where they debated typewriters vs PC word processors for a script. "No! The typewriter forces you to never make a typo or you need to get the whiteout! The smell of the ink improves your creative juices while writing your dialogue that C-list talent will roll their eyes at!"

Someone told me the sensor is rated for over 50,000 hours.

The David Mullen on the right would give Avril Lavigne a run for her money! That effect is coming back to me now, back when I would DNR with a Canon t2i. Thanks for the visualization. So would you say there was an intentional choosing of a higher ASA stock to intentionally get that look? Or a happy accident?

Here's a link to it in motion if that helps at all. (At 1:30 if it doesn't timecode)

Was re-watching Avril Lavgine's first music video and they had this portrait lens close up shot How exactly could a DoP go about getting the skin tones this plasticy? Almost doll-like. Obviously the lack of blemishes is just make-up but there's a certain polish to the skin overall. Thanks for any tips.

I get tired of people assuming that I want to watch every "high-brow" film that comes out because I educated myself in film production.

That's IMDB's recency buffer, it'll fall back down to a 7 in a few years. This is a true professional.

They're kinda baby movies. No deep real-world situations demonstrated in any of them to my memory, I stopped watching after the first Avengers. That being said, baby movies can still have master-level production value. How is Scorsese disliking Marvel movies a shock to anyone??