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Shawn Sagady

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  1. I love Black Magic and what they’ve done but I wish someone would concentrate on a sensor with amazing photos sites like the Alev3 and less on big pixel numbers. I feel like no one but Arri gets it.
  2. According to traditional physics the speed of light is constant so it would have to be the route being longer. Like photons generated in the sun take thousands of years to reach the surface but they are always traveling at the speed of light, they just keep bumping into crap and bouncing around.
  3. I would think that only legally applies to permanent fixtures. But I’ve had clients give me some weird ass rules before.
  4. Those tests are great. Nice to see the work done so thoroughly. A quick browse through the LED units and you can see the crazy dips and gaps in the spectrum vs the relatively smooth falloff of tungsten. Some of them are getting much better though. I remember some tests from a few years back and there were literal holes in the spectrum.
  5. 100% You can and maybe should review your content on a consumer monitor before mastering but the wild variety of looks and settings between brands and even generations of the same brand means there is no middle ground consumer monitor to use as reference so you MUST have something that is reliable and reproducible as your reference monitor. Grading as close to accurate as possible is the best bet to put you somewhere in the middle of all the wild variation in the consumer market.
  6. You’ve had a lot of great answers. Personally I love tungsten for the light quality. LED is great and I own LED lights and not tungsten but that’s because you can’t be sure of power on small indie shoots so the LEDs efficiency and small form is great. that be being said if I have a stage or a budget for grip tricks and generators I’ll take tungsten any day. Just look at the spectrum from a tungsten or even HMI light compared to LED and you can see the huge gaps and sharp falloffs.
  7. Flanders Scientific is the way to go. You might be shy of a 10bit monitor at 3000 unless you can find one used. Those monitors are bulletproof though.
  8. Those cameras are small enough just about any modern gimbal could be used as well. I get there was a lot of constraint on the shoot and they were just embracing the simplicity of 8mm. But would love to see 8mm with some production value
  9. https://shotonwhat.com/cameras/sony-hdw-f900r-camera best I can find.
  10. A lot of trailers are done by separate houses than the films actual editorial team. They may be getting a rough grade or even ungraded footage to work with so they just do what they think will tell the story outside of the desires of the DP etc. Usually the director has some input but again these trailers are usually cut way before the final grade is done.
  11. They did some serious work to degrain and clean up that footage. Makes me wonder why bother with 8. Could have shot 16 and had more control on the look. I guess because they can.
  12. To be fair I’ve seen a lot of reels I turn off in the first 20 seconds because the music is incredibly obnoxious and does nothing to tell me about the cinematographer except they have terrible taste in music. That being said I agree music helps but it can’t just be your favorite song, choose something that heightens the imagery and lets you be almost narrative.
  13. I’m curious if maybe you could find a maker lab and 3D print some milk crates or custom crates
  14. Great stuff. I’m so torn between film and digital. But my requirements are getting stiffer. If it’s not an Alev3 sensor then I’d wrather shoot film. I’m looking to build a new kit and have been planning on picking up a classic Alexa for shooting shorts with but then I see great stuff like this, which I 1000% agree with and I wonder if I should be chasing down a nice Aaton or Arri SR3
  15. Is there some additional detail like uncapped on their sides so sunlight gets into the optics or capped and standing on end fine?
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