Ryan Jim Rector

Hey AJ thanks for the quick and very detailed response! For the look I'm trying to achieve - especially with the Anamaorphic lens - is the expansion of the space (for a lack of a better term). It makes the setting much larger than it is and creates good spacing between the foreground and background; at least much better than a non-anamorphic lens. I also would like to achieve the oval bokeh look at least in the faces, it creates this look of surrealism in facial features. I know JJ. Abrams used it a lot in the latest Star Trek movies as well as Riddley Scott in Alien. one of the charters in this tale is a synthetic android and i wanted to recreate that look on the character. But you are right about the 2x squeeze on a 16:9 censor, you basically end up having to chop off the sides of your frame. As for your tips, I think they're really solid advice. I'm pretty sure i'll be going the CP.2's and going with a wide open lens and then crop the 16:9 image in post. But I did not know the one about the fishing line, it sounds pretty cool and will have to try doing that in an upcoming camera test. Thanks again for all your tips and Advice, really appreciate it. All the best, - Ry

Hi Everyone, I am a beginner Director of Photography and I'm still learning the camera side to things as a DOP. I'm much stronger on the lighting side than the camera side and need a little advise. I'm shooting a science-fiction story in the near future and I've done some research on lens and how to sell the Sci-fi look, and the thing that keeps popping up is Anamorphic lens. I have little understanding of how Anamorphic lenses work and will be shooting this project on the Sony F3 - From what I've gathered the chip sensor can't do Anamorphic with out a converter lens, but I heard those lessen the quality and aren't the same as the real deal. I've been watching a ton of interviews of cinematographers and they say to go with a wide Anamorphic lens and shoot everything crisp - even my professors say the same. So my question is, what is a great alternative option to a Anamorphic lens for the Sony F3? P.s. The lenses that come with the Camera from the school's rental house is a set of prime lenes (35mm, 50mm, 85mm) and Zeiss CP.2 Lenes (18mm, 25mm, 35mm, 50mm, 85mm). We are allowed to go to other rental houses but the budget is limited to around $1500 (not confirmed yet, but roughly around that). P.s.s. Also - last note - any additional tips on shooting and lighting Science-Fiction would be much appreciated. All the best.

Urgent, How do I ground a light for safety when next to water I.e grounding a power to a fire hydrant. I'm filming in a pool today with some powerful lights and I don't know how to ground them. I tried google but was not getting the right thing. I know you must ground it to metal or a pipe with flowing water with a clamp or something if I'm not mistaken but I don't know how. Please help in dire need!

Hi I'm a DOP on a commercial that revolves around superheroes and one of them uses this frost/freezing power. Now I've figured out how to light it and the look I'm going for but I don't know how to properly cue it. I'm using the OK Tire winter tire commercial as an example of what I'm trying to do - Start in regular Tungsten lighting in an office than to the freeze effect where the lighting switches to the freezing light (for lack of a better term). I want it to be a smooth transition where everything is practical and then enhanced with CGI. I really want to avoid cutting to another shot for the effect to work. Like in the OK Tire commercial I want it to be one shot - at least for the lighting switch. but when I was doing this my self I got two very different colour temperatures and it just didn't look good. the before and after were great but the transition was really bad and that is what I'm really struggling with. Any help on this would be amazing I've attached the photo and the link of the example I'm talking about.

Yes and No, There is a match cut of a man falling in a chair to him diving backwards into water. so for the aquatic themes i wanted to use a lot of rich blues, such as a steel blue for daylight and so on... but I would love it if when the diver dives back we follow into water, but I'm not sure about that because there are a lot of risks. and yes I'm familiar with the F3 and Pix but our executives are pushing for the Alexa. which ultimately i think is the best option just wanted to get a decent comparison .

Thank You all this was all very helpful, I feel like my best option is to go with the Alexa or the Alexa mini (if i have the option). from what I've gathered its the easiest set up and the read out seems to be much high with prores options. It's really intimidating to go into a new camera with limited experience. but once again the Alexa seems to be the best route. I'd love to try the Scarlett but unfortunately it's not 100% up to me to decide and the Scarlett didn't get the approval.

Hi, I am a DoP on an upcoming shoot for a pair of commercials but I'm having a little trouble deciding the camera. I'm more on the lighting side than camera so I'm not to sure about which cameras are better than others. I was looking at a few but other than staring at the specs i didn't really get much information. I was looking at the Alexa, Alexa Mini, Red Weapon, Red Scarlet, Sony F3 (I've had experience with very minimal). the commercials aren't highly complicated but one of them deals with aquatic themes and the other superhero FX (such as laser beams and freezing) do any of theses cameras have a better read out in colours, which has the best mobility, do any have any serious problems, and your personal choice or opinion? once again I'm not really up on camera side of things so any information will help! Thanks

Thanks David, its is contemporary to some extent. its also a bit imaginative while carrying realistic qualities. And what you said makes total sense, there are some emergency red lights as well as looking to get red incandescent bulbs for trouble lights Also thank you Satsuki, I too was thinking of having a mid-shallow depth of field and progressively getting shallower Thanks you guys, was really insight full.

Hi, I have to light a submarine that goes under attack from a sea creature, I want to want to replicate the intense red lighting similar to Das Boot and Wrath of Khan (I've attached photos to show what I'm talking about). I recently acquired a few 789 Blood Red lee filter gels to replicate the look. but not really sure the best way to go about it. I have access to some 4K HMI's, 2K Arri Fresnel, and 2K Mole Richardson scooped soft lights. I also have a few Arri 650's and 300's for extra fill or spotting. the set is in a studio, roughly 8x16 I'd like to also create a mid range depth of field, I'm using old school Christmas lights on the control panel to give the controls colour, but want them out of focus enough to not be able to tell they are Christmas lights but enough to see the emitting light. If anyone has any tips on this it would be appreciated as well. Thanks so much!