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Max Field

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Everything posted by Max Field

  1. I recall reading about that transfer last month and was astounded by how they had to handle terabytes of data in the early 90's.
  2. Diegetic meaning meaning organic sounds from foley/action and not a soundtrack. Watched the BTS for American Graffiti and a lot of the sound design in it took a lot of mic placement into account, and moving the mic placement while recording in sync with the footage. Like when a character walked out of a party, the foley artist moved the mic further and further away from a speaker play the party music to create audible distance. Before they would just turn it down on a slider I'm guessing. Further fuel for EQ never beating a good mic placement. A similar technique ended up being used far more complexly on Star Wars for the lightsaber sounds.
  3. Curious to see what we could add to my list here, a film title and what it was the first to do: Barfly (1987): First to use legitimate Kino Flo fixtures American Graffiti (1973): First to write scenes to pre-existing pop music, also advanced adaptive diegetic sound design. First to shoot night exteriors with available light. (Also might be the first non-historical "retro" film?) Attack of the Clones (2002): First big budget feature to be shot entirely in digital HD.
  4. I'm local to NY and have a few Arri and Mole Richardson tungstens for sale, you could get a few and still be within your budget of $1000. They're how I started out with lighting, they still pack a punch.
  5. After it's release almost 2 years ago, the 2 part documentary Leaving Neverland (about Michael Jackson's alleged crimes) has been greenlit for a sequel. Of course the Jackson estate is bombarding them with legal suits, but in all honesty, all I can think about is the crew. Would a DoP or AD worry about a film that could potentially get them blacklisted from a big chunk of the industry? Does the average hiring producer look at things like that for positions other than Director or Writer? There's been stuff like MadTV which has been mean towards public figures but never attempted to seriously state anything about their parody subjects, I just wonder how it could all go down in the event of the courts ruling these pictures as 100% libel.
  6. Trusting other crew members is extremely hard when you know they aren't taking it as seriously as you are. At the lower levels you 100% need to micromanage or your production will be a disaster, not just in cinematography, but any form of direction. I could only imagine the great crew David Mullen here gets to work with on the regular. It also gets to a point where you might be working with other people who are farther than you in the field, and they try something you dislike, however you're too afraid to correct them as a result of their seniority. Micromanaging falls to the wayside in the interest of ingratiating yourself with more experienced talents.
  7. The tall community wants to lift their arms without their potbelly showing
  8. I know Adam Sandler/Happy Madison upsets you artsy types but I found the color palette and lighting arrangement to be eye catching. Very creative with the fill lighting and really taking advantage of how wildly sensitive digital cameras are nowadays. Anyone else seen it? Please give it a skim through on Netflix.
  9. Sounds like she's recording under a blanket
  10. Sorry to bump but was still looking for a visual or demonstrative sample of inserting a 21fps clip into a 24fps timeline (Youtube has next to nothing). If the camera doesn't have a project framerate setting but you have a 21fps file, when drug into the timeline does it slightly speed up or just get under sampled? Or is there an entirely different workflow I should be mindful of?
  11. Do you need people to be in the pool for the shot? Or just walking around it? If just walking around and never closing in on it you could try an empty pool with diffusion gel/sheet over it. Under that diffusion blasting some strong blue-gelled light (not sure if setting up a few mirrors under there would help that wall-like blast). Lastly, getting fog machines around to further diffuse the light into more of a glow. ...That's how I'd do it with the stuff I own at least.
  12. Was scratching my head when it came to articulating why a Zeiss Digiprime retailed for around $20k, and a CP2 retailed for around $5k. Was it simply because the Digiprime had a slightly more specialized application for the market's era? Even then, I notice quite a few people today holding Digiprimes in the regard they'd hold an Ultraprime. I've used both extensively and they both look fantastic, however I can't really discern where there's a $10k difference with 2 amazing pieces of glass. What are the practical short comings of a CP2 I'm not seeing?
  13. I'm just worried that when my projects lack establishing wides due to budget, it looks like poor cinematography as opposed to a creative decision. Like I'm partially worried I'm cheating the process if I say stuff like that in regards to my own work.
  14. Just my luck this gets uploaded literally a week after I buy the camera
  15. I still think it looks great.. although my taste is highly commercial
  16. According to the forum guidelines!!!!! I don't actually care I just found it curious that this was in the rules.
  17. That makes sense, but the next thing which I'm confused of is why the image doesn't chromatically aberrate with little RGB slices as opposed to this incredibly soft bloom. When a lens messes up from adaption I guess I'm just used to it being weird at all settings instead of making a couple stops off limits.
  18. I saw that my new Pocket 6K camera would crop the sensor to a 2.7k slice, making it small enough to cooperate with the image circle of my Zeiss Digiprimes. I put a 14mm on via a B4 to EF adapter (no glass element between), backfocus adjuster set to 0, and with the lens at T2.8 everything seemed pretty nice from what I could see. HOWEVER when I slipped the aperture all the way to T1.6, the optics had a very sudden dropoff and went wild with bloom on the highlights: Any lens experts (maybe @Dom Jaeger ?) have any insight on what's going on? Flange distance? Coating? Poor adapter? Thanks for anyone's help on this mystery.
  19. I mean... I'm not sure the question is if historic racism will dwindle out after generations of separation from slavery, it absolutely will with time being the ultimate cure for most things. The issue is people with the short end of the stick don't want to be told absolute progress won't happen in their lifetime. Plantation slavery was going on in America well into the 20th century under the guise of sharecropping or vagrancy laws. It's going to take more than 100 years to fix this massive problem, I don't believe film producers are the ones we should be looking to.. film investors may be another story.
  20. This is something I've always found fascinating. A new member always posts a thread asking something some, or all, of us learned years ago. The reality is we're all still learning regardless of how many years we've been doing it or how many credits we have to our name. What's the most recent fact or detail in the process of cinematography you've picked up in your travels and added to your arsenal?
  21. Different cultures find interest in different things. Sometimes (not every time) the culture you're in can be a result of your skin color due to historic (and sometimes current) discrimination. The reality is: different walks of life want to do what they grew up enthusiastic about. To say most black creatives don't have a desire to make features is completely reasonable, disagreement with that in a way denies the under-representation that's historically existed in cinema. This will all balance itself out if black talents are given budgets to create as opposed to being used in little franchise puppet regimes. Stop looking at crew demographics and start looking at the producers who are given opportunities, they'll execute ideas their community wants faithfully. All this guesswork of white execs trying to appeal to communities they barely interact with is laughable.
  22. I guess this means lower budget films will never win best picture again. I understand enforcing diversity on productions which have the resources to accommodate these parameters, however less money means less connections and less freedom. You can't add another filter of pickiness when you're already struggling to get crews and the right actors together off a couple million.
  23. The first one, but I find myself warning for just general safety precautions and they fall on deaf ears. In my experience of the entertainment industry, getting your foot in the door is 90% connections and 10% talent.. could only assume Cinematography in specific isn't much different.
  24. I wouldn't so much say "afraid" as "don't wanna hear it". I'm sure in your decades on sets you've at some point worked under a DoP who lacked certain crucial knowledge? Did you try to help out with the situation and end up getting shot down? I know that's happened to myself and a few others on here.
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