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.

1 minute ago, David Peterson said:

Doesn't that prove the point in this thread? 

It's a 100mm Fluid Head, not a 75mm head. 

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!

20 hours ago, Adam Frisch FSF said:

It used to be (like it was for me), that if you started out shooting MV's, you could never in a million years get a commercial from that. It was just never done - seen as two different disciplines and if you did one, you did only that. No crossover was allowed. That's all out the window now. You do something cool, either a MV, an ad, or a short film, or an art film, and if it connects you can be on the biggest commercial of your life the day after. It's good that those barriers are gone.

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.

17 minutes ago, Stephen Sanchez said:

When starting out, I deliberately took short film gigs (unpaid) as a gaffer to better understand lighting. Because I knew you don't grow skills when you hit record. The "cinematographers" on those shoots knew less than I. And it was a bizarre experience, thinking I would learn from those shooters.

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.

3 hours ago, Matthew J. Walker said:

Maybe for Soundcloud rappers.

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

1 hour ago, Michael LaVoie said:

Producers hire based on reputation and resume.

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.

13 hours ago, Stuart Brereton said:

Apart from the “millions” of people who are apparently busy hiking around LA with their 35mm cameras, worldwide stills film sales are at about 2-3% of what they were at their height. Sales of nearly one billion rolls a year has dropped to a few tens of millions, and while the market has stabilized and is even showing healthy growth, it’s still a very small proportion of the larger picture. Outside of large cities, stock and processing can be hard to find. Stores like Walmart may well still carry a few rolls of film, but that’s because their huge stock turnover makes it possible to carry items with a limited market. In much of the world outside of LA, film remains a boutique item.

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.

On 1/19/2021 at 3:11 PM, Tyler Purcell said:

I was just on a hike yesterday and passed a group of people with film cameras. 

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.

1 hour ago, Satsuki Murashige said:

The lighting units are probably large fresnels, judging by the sharp shadows of the grates on the back wall. Mostly likely something like a row of tungsten 10Ks or T12s. The color comes from gels. 

Re: color

I think the green tones that you’re perceiving in the shadows are probably a mix of the colored lighting (yellow sodium vapor and blue moonlight), the color of the walls and floor tiles (beige?), and the color of the chairs. 

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.

On 12/20/2020 at 11:17 AM, David Mullen ASC said:

I once had to shoot a close-up on an actor in front of a bush in a residential street in Santa Monica during a summer heatwave, the bush and the actor dusted with fake snow, and cut that into a movie shot in real snow in the mountains in the previous winter -- and it works fine, but knowing that the actor's close-up was shot in June in front of some random bush we found makes me laugh. 

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.

9 hours ago, Evan Walsh said:

At face value it may seem like typical Red price inflation but I do think the cost is justified having used both. 

Global shutter, ease of changing mounts, aftermarket options for internal ND's, wireless control and monitoring, metal construction, better power options, mounting points on the camera, timecode, arri style R/S and genlock via adaptors.

Those features / options put it in a different class from the pocket 6k which I think justifies the price tag. 

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?

4 hours ago, Ivan Johnson said:

Simple really, the sensor and the RED “look” you get compared to the Pocket.

Creators will pay $4k more.

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.

9 hours ago, Dom Jaeger said:

“Marathon Man” was the second film to use Steadicam but the first to be released, it hit the screens in October 1976, two months before both “Bound For Glory” and “Rocky”. So it was the first time audiences got to see the new technology in action. Whether that holds up in a court of pub quiz is another matter.. 

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?