Shawn Sagady

Yeah unfortunately I am in Maryland so I’ll probably have to use borrowlense to do any comparisons or maybe drive up to New York to try out lenses at a shop up there.

The ramp doesn’t look that bad tbh. One stop and it’s really smooth. I’m really torn because on one hand these are nice affordable lenses but I get the nagging feeling of future buyers regret. I’ve decided to up my budget some if I can get a good set of primes or a solid zoom. Seems like the glass is the worthwhile investment. - Ursa Mini Pro G2 - small HD top plate and handle - Small HD shoulder mount/rails plate - Wooden UMB-1 Swing Away - BM viewfinder - PL and EF Lens Mounts - Taradek 4k 750 Tx/Rx - IDX Dual VMount Batteries and Charger (I own a couple v mount batteries already) - Tilta Nucleus Nano. l Depending on what kind of deals I can get that’s about 16000 for a lens originally I was going to cap out 20k but if I can get a lens solution in there I’d go as high as 30. This leaves me with what I perceive to be a solid setup when I include all the other gear I already own such as fluid head and sticks, monitors etc. So with 16000 I can look at some more options. I just don’t want to end up feeling like I’ll regret the lens choice because it saved me a couple thousand. If I can’t find anything that really fits the bill then I’ll probably go for the LWZ.3 or The two Sigma Cine Zooms.

let’s talk about the LWZ.3. Everything about it seems really solid except the variable apature. I honestly have not worked with any lenses that have this. Is that just a minimum apature so if I’m set to 3.5 it stays consistent or does making it 3.5 slider the far end to 4.5? if working at 3.5 effectively makes it fixed apature then it’s a lot more interesting.

The United States has a split personality about covid-19. The populous is both overreacting and buying useless things, but at the same time failing to take even basic precautions that could actually help them keep healthy. The government is just strait out ignoring itself and saying 3 different things depending on who you talk to. It’s no wonder the death rate in the US is higher than anywhere else.

I did discover the ziess/arri Variable Prime set which could in theory solve my coverage issues but it sounds like they are very heavy and awkward to deal with. Leaning more and more towards the Ziess Cz.2 28-80 and then add some primes later on for better wife and telephoto coverage. Just need to land a good deal.

Hey all. So after some time I am planning on buying some equipment to shoot narrative projects for myself. I’m looking at buying a Ursa Mini Pro G2 as an affordable and flexible camera, I’ve always loved the look of their color as well (shot on a bmpcc for ever for work). I’ve been wracking my brain on lenses. I actually have shot with the new Sigma Cinema Zooms which are a great deal for two zooms and coverage, but they breath like an asthmatic running a marathon and are not true parfocal. Lately I’ve been looking at everything from old Cooke varatol 18-100 to Arri Alura LR. I do love the ziess CZ.2 28-80 but even used they are a bit out of range. In the end I’ve got about 20-25k to build a rig that can aupport my narrative projects but also be used flexibly for commercial projects etc to make money on the side. So any advice would be really useful. I’ve done DSLR style rigs and I’m over it, I’m ready for a solid camera and real glass.

Love the micro. I can't help but notice it almost feels like this was framed for 2.4:1 rather than 16:9. Pushing them into the 2.4:1 frame would create a bit more intensity and pressure for the characters as well as fit your wide background framing a bit more. Great short and well done.

Fortunately for us the Sun is not on planet earth.

Great news and amazing project. I love Kodak but the more options the better for the art.

This is completely unscientific but I simply do not like the look of LED. Outside of the very high end Arri fixtures the light that comes from them never looks natural to me. I love Tungsten and how it looks on both film and digital. Of course there is a time and a place for both. I own some LED for quick interviews and travel. I rent Tungsten for big shoots when I can afford gennies and a grip trick.

Sad news. Time to load up some of his work and appreciate the art he left behind.

http://originalart.xyz/the-unlikely-story-of-how-nitrate-film-endures/?utm_source=ReviveOldPost&utm_medium=social&utm_campaign=ReviveOldPost#.WJRL9FJOmRN

I have a 100" screen with a 3K DLP projector, works wonders. Forget the actual model right now as I'm on the road.

I've discovered when shooting around 35mm sensor size that 85mm is my favorite long lens for close ups, it just feels really good and I can stop down some without throwing away to much depth. I made a ton of use of the 85mm on an anamorphic project which I guess might make it feel more like a 65 on a spherical setup or is it the other way around.

Even using color balance tricks and gels you will have a hard time getting it to key cleanly since it wont have enough saturation to really distinguish its self from skin tones. You might be able to try lighting with really saturated gels but it would probably be better to re-paint or purchase some light weight green screen fabric and rig it over the stage. Keying, even in the best of situations is always more of an art than science and even the smallest issues with your background will make your life miserable.

Damn I am about an hours drive from Colorlab and would love to attend but I am flying to California on the 27th.

Pizza will make some people walk off the set, its considering pretty insulting. Mixture of healthy food and good food, variety is key. And its important to separate craft from caterer. They are two different things and someone trying to do both will usually be overwhelmed.

Planning to rent ziess or arri 16 primes, 8mm - 50mm

Thanks guys, im not so worried about matching the FOV or the shot specifically but just seeing approximately what light levels look like. I am actually shooting S16 so compared to the FF it will be WAY off, but again just looking at levels and exposure not worrying about composition, I can use my phone as a basic directors view finder for scouting since ive calibrated it for S16 focal lengths.

Previously on a shoot I noticed the DP taking photos pretty constantly during set ups with a DLSR (They were shooting 35mm). I was just a guest on the set so I didn't get in the way or ask questions but as I prepare for my first film shoot it occured to me that it might be a really valuable tool to bring along my 5D to take quick reference photos both for documentation of what a setup looked like, but to see how the light is playing at a specific ASA. Would this actually work to give you an idea of what your exposure might look like? I know it wont be exact but if you are using similar ISO and Fstop should be in the right ballpark? Would just be a nice security blanket in addition to metering.

If you have not seen Lawrence of Arabia it is a must see. It inspires me every time I watch it, the directing, editing and cinematography are all incredible.

The hdmi output is still 8-bit. 4:2:2 is a compression ratio and has nothing to do with bit depth.

I feel so bad for you Phill, I usually have more C-Stands than I know what to do with on even low budget shoots :(

5D is and always will be the entry point for full frame still photography. The fact that it had any video features to start with was an after thought, and they are not going to make the 5D an incredible video camera that would compete against their Cinema lines. So if you do a lot of stills work and need to shoot an occasional video its a good camera. If you are primarily working on moving pictures then look elsewhere. I own a 5D MKIII that I bought for shooting stills, not the video, but I will occasionally shoot video on it as a BTS camera or a desperate B camera if I need one badly.

You should do a variety of camera tests and make sure you can grade the two cameras together so they intercut well. You will likely want to develop a couple looks that put both cameras in matching neutral worlds so that you can use the same grade on both without to much fussing. But I am sure its doable, people have been mixing vastly different cameras on films for a long time. Just gotta do your prep work to iron out any issues before you are on your set and burning money. EDIT: I believe the current 2.4 actual ratio is 2.39:1 and 1.85:1. But in this day and age just choose what works for you. In your case it would probably be best to shoot 1.85:1 with 2.39:1 guides in your frame so you have a little room to fudge the frame if needed in post.