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Posts posted by Max Field
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What would you charge for shipping to the US east coast? For one of the 650 fresnels?
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I'm tight on equipment right now; all I have is a RED One MX and a Blackmagic Pocket.
Obviously the RED One will be more impressive to clients so I'd like to use that one, but I'm not sure it can withstand what I'll be doing with it.
Some geologists are fixing a dam and they need someone to get video of the entire process which takes almost 4 hours.
In 75 degree F heat, can that body handle a solid 3.5 hour run with no issues? I have enough hard drive space to make it work.
Perhaps I should consider time lapse mode? Should I say "screw it" and show up with a BMPocket?
As always, thank you.
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The 3 most important things I've been told to look for on a work contract is:
-What you gotta do
-What you're getting paid
-And WHEN you're getting paid
Make sure that last one is extremely clear.
Also when hiring others, make sure there is something in there ensuring they are signing over the rights to their labor output for that specific project if they're doing recordings, drawings, writings, etc. If that isn't there, they have the ability to take you to court for using their work if they found themselves very displeased with you.
Now if a lot of these jobs don't have you signing on a dotted line, bring your own work contracts.
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In-n-Out is the most overrated establishment on earth.
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The same world where Wendy's is somehow open later than Burger King.
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Don't work under another director/producer on a fan film unless you're desperate.
The issue with the majority of them is they... suck. Any idea you could offer to making the picture less awkward has high rejection chance to be "faithful to the original".
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Link if you haven't heard:
https://www.bhphotovideo.com/bnh/controller/home?O=productList&A=ShowProduct&Q=1203955&sku=1203955
So essentially it's a GoPro, but with interchangeable lenses via MFT mount. Is this the cheapest lens friendly option with 240fps capturing? A big downside is the subsampling being locked at 4:2:0, but some people put up with Canon DSLRs, so not that bad for those users.
How're we feeling on it?
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Videos like these are cool
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I've heard bits and pieces on how one shouldn't blast a light directly into a digital camera (or maybe only DSLR?) to avoid damage to the sensor.
How much light is required to actually screw it up permanently?
I ask because that technical warning seems to have been thrown out the window on countless music video shoots with wide open apertures and work lights/sunlight blasting lens flares right into the sensor. Are they slapping on thick ND filters and boosting the brights back on in post to save the sensor's health?
Been stuck on this one for a while.
Thanks.
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It's a collective effort of everyone with a slice of creative control. Like when you slap a wide angle lens behind an intimidating character for an over-shoulder shot; that asserts the dominance of said intimidating character. If dominance is something the writer REALLY needs to convey, only the cinematographer can drive that home to the audience. Spoken word only runs you so far.
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The entire point of filmmaking as an art is to convey a story VISUALLY. If people are only concerned about the raw of a story, they'll read a book. Different mediums have different requirements for quality.
Some people here aren't understanding that the concept of the motion picture took off because of a visual flare around a story of substance, that flare was refined about half a decade later (titles like Citizen Kane) since the inception and became it's own category of substance.
A basic film course could explain how shots X and Y enhance the storytelling ability of visual mediums. All of these notions and parameters are in place to help a good writer transition to be a good filmmaker.
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Are you stretching the clip out itself in the timeline?
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Thanks, David. Good to know these cameras are cheap too.
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Was watching some basketball highlights from the 80's and remembered that every time the camera angled towards the stadium lights, there would always be this lasting streak remaining on the footage.
Here is a sample video timecoded to where it happens: https://youtu.be/NySXt7-D-ys?t=7
What causes this phenomenon? At first I thought it was slow shutter speed but then realized it's sports photography.
In the right situation I believe it could look wonderful.
Thank you.
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In your case, the ADR session has already been scheduled for more than recording breathing (I'm assuming), so why not get it while you're there doing lines? The best mentality is to "have it and not need it" rather then "needing it and not having it".
I was getting it while doing lines, it was literally the last thing to get after 5 other lines. I probably should've made more clear that an actor was complaining, not someone with technical know-how in ADR or any other post-mixing field.
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When is Matthew McConaughey gonna finish that road trip?
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He hates the land, not the crews.
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Nice, been looking forward to this as well.
Have they released any of their cheaper glass for PL mounts yet?
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The brackets are my thoughts going back to the crew. :)
R,
No I meant the "Are we going to get some real food" statement. How could anyone have filet mignon and complain?
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What! Filet mignon and lobster again for lunch! When are we gonna get some real food? (real food that you didn't pay for, you fat slob crew member.)
R,
That seriously happened? I find the second sentence impossible to believe.
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Title says it all; had a pain in the ass ADR session where I was asked "why do we need to dub breathing?"
I personally don't mind "why" questions, as it's an opportunity to educate, however I had to have a 2 minute back and forth hearing "No one's gonna notice!" several times.
I eventually got some (begrudging) takes, but I wanted to hear some stories if you guys had any, and advice on how to go about getting what you want/need as the director in the event of unrest.
Thanks.
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As time goes on, we figure out how to surpass the limitations of a given medium. Sometimes it takes so long that we get used to and prefer ANY blunder that medium may come with.
*cough* film *cough* ;)
Tips for shooting a feature with an F5 and a7S mk2 together in 4K?
in Sony
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Why not just output the a7s to a 4k 4:2:2 recorder? Then one image isn't capped out at 8bit.