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Max Field

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Everything posted by Max Field

  1. German engineers can't help their leader's insanity leading to self-sabotage.
  2. Given that MKH416s on the used market are within a couple hundred dollars to NTG3s, it's a no brainer to go with Sennheiser. Literally every Rode mic I've used is thinner than it's competitors at a similar price point, natural bass retention is essential the farther you move from the subject (is essential for the human voice in general to be honest). German engineering is undefeated.
  3. I know a couple girls obsessed with it.
  4. Yeah I'd suggest the H6 way before the H4N.. it feels like the H4N is known so much more because a ton of media programs make them available to their students. H6 has better preamps, better GUI, and 4 inputs if you need to record roundtable situations. All the audio I've done in the past 3 years has been with an H6 and I've never really had to look elsewhere since. However if Neve, Motu, or Neumann start making portable audio recorders then my H6 is going directly on eBay because the preamps still leave a bit to be desired if you work audio regularly. As for shotgun microphone It's really the Sennheiser MKH 416 or nothing at all (Schoeps has a nice one for too much money in my opinion). I see you're Australian but Rode microphones are trash, please do not buy an NTG mic.
  5. The key thing for most trades is experience. Tricky part is; how does one get experience when there aren't many opportunities in general to even do free labor on professional sets? Start self producing shorts to build that experience up as well as building portfolio. Film school (at least in this era) gives you a baby-level workload compared to what's actually required to have competent knowledge. Doing everything on your own is the only way sometimes. Recently had my first 1stAC gig on a music video shoot among some media school graduates and was head and shoulders more knowledgeable than anyone there when it came to the camera/lighting departments. You can't wait for knowledge or experience to come to you.
  6. And then once technology advances to automatically capture and apply those characteristics of making digital look more filmic, film will be gone for good? Because it's coming soon to a Davinci Resolve near you. Remember when people thought the talkies were a trashy gimmick in the 1930's? Man would hate to be those guys (because they're dead, not because I'm making a great analogy).
  7. Little things here and there are definitely cool with the characteristics of shooting film but it's just not worth the cost. Like the number one thing industry veterans preach is great production design and great story, the canvas capturing it (with the exception of really cheap stuff) means nothing to me as a filmmaker. I don't really want an Arri camera all that much, but I have to have one to turn the heads of others. I live for strongly saturated hair lights, whip-pans, stabilized handheld tracking, flashy bokeh, gigantically soft key-lighting, and backgrounds flushed with advertising. Film accomplishes literally none of those things. The more you consider your own style, the less you consider what captures it.
  8. Digital won't kill film. Alexa Minis dropping to $3,000 each by the 2030's will kill film. I've only been enthusiastic about shooting film from a period piece perspective. A "young filmmaker" gung-ho about celluloid wouldn't admit it, but are just trying to impress most of the people on forums like this. Printing film for projection is another story, I love the coloration it creates while not affecting on set workflow.
  9. I'm seriously wondering who's going to theaters once the baby boomers and Gen Xers die off.
  10. To be fair 1977 and 2020 are 2 very different eras. Due to the internet and widespread cable television, the western world is addicted to familiarity, especially childhood familiarity.
  11. When speaking with artistic communities I find it difficult to get across the importance of certain athletes and Kobe was definitely one of them. Now that he's dead I hope it will encourage people to learn about how deep his mental process went and incorporate some of his insanities into their own workflow.
  12. Thanks guys, oh one last thing. When it shoots in 2k does the sensor get cropped? Or does it capture the whole thing and downscale?
  13. Max Field

    Sony F5 questions

    I know many here are CineAlta fans (and haters) so I'll dump the following questions here: 1.Without the expansion box, what is the highest possible quality of recording? ProRes 10 bit? Something comparable? 2. Is the dynamic range really 14 stops? 3. How are the skin tones? 4. Does it chew through batteries? 5. Is it good at around $6000 or will the camera go lower? 6. What is the sensor size? I know "Super35" leaves a bit of variation in millimeters.. Thanks to any and all who can answer!
  14. The simple way of putting it is you need to be true salesman, sell them on how extra money towards the camera/lighting department will significantly improve the overall quality of the project. Realistically, the most common thing you have to deal with at early stages is the producer just not having money in general. Knowledge is power. If you can go on and on about other things where money saved the project (while making it entertaining to hear) then you'll have a better chance of getting what you want. I have no idea how anyone quiet could make it any business.
  15. Additional info: Setting these up has been a 1-man job so far. I'm able to get them nearly level but not perfect. How essential is it to get it right on the nose? Also when I put in the lock to do the final extension to wedge into the ceiling, is there such a thing as over extending them into the ceiling? Or the tighter the better?
  16. I bought 2 of the Impact Varipoles for a shoot, wedging them between a standard 8 foot drywall ceiling and a thin piece of wood over a carpeted floor. Before I begin hanging a speedrail between them, what tests should I do to make sure these won't slip out from the ceiling? I really do not want a lawsuit on my hands. Thanks for any tips!
  17. I was in talks with Tom Pickard but their plan made it so you had to get the general liability with injury coverage etc and I didn't need all that. I got Athos Insurance this year.
  18. It was wild how they made one location last an entire feature. I wonder how that film would've done without A-list talent.
  19. Source Filmmaker (aka SFM) is the big one that people are using on the indie scene. I've done a few shorts myself and compared them to stuff people from video game backgrounds were putting out and what I can definitely say is if you want your imagination to become completely free without physical or budgetary constraints, try making some SFM shorts. People who come from video game backgrounds pay very little attention to lighting and still blocking and opt for moving handheld camera 24/7, which really loses its flare when they end up shooting the whole thing like that. Use programs like that to pretend you have $250k to shoot a short.
  20. Just wondering if we could compile a list of suggested views that encapsulate great blocking and framing. Nothing on the scale of Metropolis with large elaborate sets, things that anyone is physically capable of in terms of budget, but need a trained mind to consistently do. Thanks!
  21. Do we know if TeleFilm actively reads this place?
  22. I'll be real, if someone screws me over in business I become incredibly vengeful lol.
  23. I think you're right on that one. My statement on Netflix still stands.. which is treated like being in the movie theater nowadays by the average civilian.
  24. Not sure if they're comparable, but I see tons of solid state consumer electronics from over 30 years ago still working like new with minimal maintenance. Digital cinema cameras are barely 20 years old, are we already seeing them dying due to "old age" as opposed to continued physical trauma?
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