Max Field

Given that he has full control he's probably trying to take it back to the old school justice league cartoons. 4:3 lasted as an animation aspect ratio long after most live action films left it. Also unrelated but who is going to sit through a 4 hour movie?? Scorsese and Hitchcock combined couldn't make an engaging 4 hour feature.

BUMP on price now $5999

Been in sound design for about 10 years now, recorded with a lot of mics and the best takeaway I've had from my work for games, cartoons, and live action shorts is the distance/angle of the mic is far more important than the mic itself. Given the mic has a decent baseline of sensitivity like the average condenser capsule.

The point of my thread was people sharing their logistical experiences with the Arri Alexa Classic. I've owned the camera for 2 years at this point and now parting ways with it.

My Manfrotto 526 head holds my Alexa and other ENG cameras pretty well. It doesn't feel bullet proof but it hasn't really caused me any problems when adjusting angle.

Bump on the Alexa Classic, now selling for $6800 CP2s also still for sale.

After seeing a lot of Sony F55 features and how the camera is selling below $7,000 in some instances, I was posting to see if anyone had a package for sale? Wanted to get one while the market was still slow. Thanks!

I've encountered literally the opposite in NYC. I'll be head-and-shoulders more accomplished with Youtube stuff than anyone else on a MV set is at their own craft (I don't verbalize it like that to them), yet you try reaching out to do a music video (even sometimes for free) and they subtly treat you like you're not artistically qualified to do music videos. From the trades I've encountered, barriers of sub-medium are still very real.

It would depend on what else is in the scene if it's not just a face for an interview. I use flags to prevent light spill onto the background resulting from big sources, never really considered using them to change the quality of the key light on the primary subject.

You can only really get anything from that if the director has a proven portfolio or you're working with really old industry guys who don't have the money.

Honestly the SoundCloud rappers we actually hear of put more work in than most 20somethings attempting cinematography.

I'm honestly not even sure it's that, it's mostly based on if you're in their friend-group from what I've encountered.

The counterpoints I'd say are if I was selling 20 million of anything I wouldn't feel like it's a microscopic niche. Also this Walmart was in north eastern, PA. A total backwoods dive compared to LA or NYC. I discovered in 2018 (my year for attempting still film) there's still a number of development labs within 30 minutes of each other in eastern rural areas. I know it's surprising but still film is hanging on more than most would assume.

Entertainment industry is 99% connections 1% talent. We're all people who were enthusiastic enough to actively post on a forum in 2021 so sometimes we might not realize the average shooter really doesn't care to the level we do.

Can't agree that motion picture film isn't niche, but as far as stills go I was surprised to see still 35mm film still being sold in Walmarts, if it's in a Walmart I can't call it all that niche... Super16 on the other hand.....

I might be interested but the package is a bit too sprawling and it's priced quite high for the current market, especially post COVID.

How do you reckon the fill is being achieved? Bounce? Or a ton of soft lights set to be 2-3 stops lower than the blasting tungsten? I'm admittedly far more curious with how the shadows are filled.

Was watching season 5 of this show, shot by Gale Tattersall, and was amazed with these establishing shots for a psych ward waiting room. I can gather how they're backlighting the caged windows (no idea of what kind of fixture), but I can't figure out how they get this softly lit grungy greenish look in the lower mid tones. Does anyone have any ideas on the lighting breakdown? Thanks to answerers.

Do you have a link to that clip anywhere? I'd be interested to see how it transitions.

Seeing what I could get for these: First up is an Arri Alexa EV Classic with high speed license. About 8600 hours. includes flight case, viewfinder w/ cable, vf brackets, gold mount plate, power supply, wedge adapter, and a slew of cables I can sort through later. Asking price is $7,500 buyer covers fees and shipping. Next up is a 4 lens set of Zeiss CP2s 21mm, 35mm superspeed, 50mm, 85mm superspeed - all include in a flight case. Asking price is $9,500 buyer covers fees and shipping. Let me know if you have any questions!

Could it have something to do with how dynamic range in the highlights/shadows shifts depending on where the ISO is placed? 2500iso will get a different spread than 200 iso according to these charts I've seen

It was a fine film but after you've seen DTRT, Bamboozled, etc it's not even close to Lee's most powerful work.

The metal construction is definitely valid (would like to pay an extra $1000 for an all metal pocket), but the komodo has better mounting options because it requires so many attachments to even run at all. Where is the price tag once you get all the attachments with it? Pocket 6K gets to like $3500 after all necessary attachments. Can this little RED record for over an hour without overheating yet? From the tests I was seeing, the pocket 6K looked more like an Alexa than any other BM camera before it, Arri-look is king in the book of most.

It's gonna be one of those things where Pong is credited as the first video game ever because the general public hasn't even heard of Spacewar or Tennis For Two

Could anyone explain the $4000 difference between the Komodo and the Pocket 6K?