Max Field

At least it's not watching full movies on Youtube in 240p, clicking on 12 different 10-minute parts. 2008 was a hard year for the boys back home.

Marketing has to happen. Doesn't mean you have to fall for it.

Buy 'em on 35!!

The last thing I'm doing is disagreeing with that experience, but do you think things have changed since you went? Not to say it's the scenario for all, but most media/film programs at major universities really cheap out on their gear nowadays, letting any student get their hands on it willy-nilly.

Opening the floor for discussion on this. Let's say 2 productions of equal quality exist. One is made with a standard professional crew of Director, DP, Audio, Grip, the rest. The other is made with only 1 or 2 people behind the camera with 20% of the budget the first crew had. Do producers/industry people legitimately care if someone can bring the same amount of quality for a staggering fraction of the cost? In my experience the answer is "no". What do you have to say on it?

You'e holding a slate in your profile picture and aren't sure how to sync audio to a mute camera? I think you answered your own question in your original post. If drones only shot film I would understand the issue but..

I personally hate shooting by windows because if the interview is in the afternoon and goes on for hours then the beginning of your footage looks different from the end of your footage. Have the window act as your key if it's bright enough outside. Then utilize some bounce on the opposite side for a smooth fill. And yeah I think backlight is a good idea as well. Make sure it's color balanced to your daylight (or not if you're going artsy).

Yeah now that you mention flashlights those create the hardest shadows I know of by memory. Investing in a super bright one wouldn't be too bad budget-wise.

Just make sure your angles and speed are consistent and you'll rarely ever have a problem making it cut.

If someone's selling a Dedo kit then let me know. Probably need this in my arsenal. So often I'm like "I want an awesome hard shadow cast"

I guess what I'm asking is.. I'll make a little text diagram: setup A: SUBJECT ======================== LIGHT ============================= MIRROR setup B: SUBJECT =========================================================== LIGHT Let's say the full distances of both of those diagrams is 10 feet. Does shining the light back into the mirror and adding an extra 5 feet of distance traveled really do that much to the shadows? As opposed to just moving the light back to where the mirror was? If so, I'm trying to wrap my brain around how the physics of that works. And also how many stops would get lost. I rarely see mirrors as it is don't ask me why.

Through putting the mirror at a farther away distance and pointing the light back to the mirror, therefor the mirror's reflection illuminates for shadows? How much of a difference does that make as opposed to just putting the light as far back where the mirror would be?

Forgot to ask, how do the mirrors come into play?

Damn this hit me in my brain, everything I remember on that channel has come full circle. Hallmark movies are like an Apple Commercial and a brainwashing VHS tape combined.

Get a t4i and pocket $200

Seeing that spinning shot done entirely in camera blows my mind. Like I've seen that effect so many times but it's always in post.

Take it exactly the same you would a regular convo shot, where one character is aligned to the right third, the other to the left. Shoot the normal character aligned to side A. Shoot the freaky face aligned to side B, but instead of focusing on the face make it other stuff like neck, arms, chest, the coffee they're stirring, etc. So it isn't super weird/claustrophobic, make sure to have an establishing shot which is blocked to obscure freaky face girl.

I can't for the life of me remember a shot which did this maneuver (perhaps Star Wars or a jet fighting movie). What are some options for obtaining a barrel roll shot where the camera goes a full 360 around the axis of the lens? I'm assuming on GoPro it's pretty easy, but for heavier cinema cameras. Been dreaming of doing a low-angle ground-tracking shot like this for years and wanted to see what's needed. Thanks to all!

Time to buy some fresh packs of yugioh cards!

Again, not 100% positive I'm going this route, I just put out the feelers for possibilities. WE EDUCATE WE BUILD WE TRIUMPH

I've only handled one for all of 30 minutes but it really didn't seem drastically different in weight. I understand the shooting controls on the opposite side of the body can be tricky, but the only thing I ever end up adjusting when I'm out in the field is aperture.

Let's hope Tim Tyler moves this, I clicked the first "L" category I saw.

So I'm completely shooting in the dark here so sorry if this is impossible. I have intentions of getting my hands on an Arri Alexa within a year. I've been using ENG zooms on an F900 for a while, but I was wondering if any of you ever needed that type of servo lens on a super35 sensor camera? Are there any lenses sold for this exact purpose? Do most just adapt B4 onto PL if they do happen to need it? Sorry if this question is a total waste of time.

Dude just why?

Yeah I recall Shane Hurlbut said the Canon cinema sensors perform a lot better when exposed on the brighter side.