Shawn Sagady

Congrats David, looks really interesting.

Great answer Ben!

Guessing there is also a black neg fill on the left side of the frame helping to add some contrast and depth.

Rokinon/Samyang have multiple versions of a lot of their lenses, some are APS-C and some are Full Frame, as well there are newer and older generations which have more consistent coatings and color rendition. Just pay careful attention to the details of the lenses you are looking at. Keep in mind you can probably pick up some Rokinon's used very cheap.

There are some old cinema lenses out there that are really beautiful on the BMPCC but they do take a little investment. I am currently using a Zeiss 10-100 1.8 MK II cinema zoom which was designed for 16mm film cameras. In oder to fully cover the sensor on the BMPCC (the lens was not designed for super16 just regular) I use an Olympus 0.4x MFT teleconverter and the Zeiss is converted to PL. Its a bit of a jumble of parts which I hope to simplify at a later date by doing a permanent conversion of the lens, but all told the set up costs around 1500 to have a really amazing lens and everything you could want in a cinema package. Barring that I have used the Rokinons quite a bit and love them, though my only experience has been using the EF versions with the Metabones adapter.

Not really sure your description is clear enough. By hyperlapse do you mean time lapse? Could you post some sample videos of what you are trying to achieve?

Everything looks great except for the really heavy yellows imo. Makes all the actors look jaundiced.

Sounds like a whip pan and a wipe at the same time. Not sure if there is a technical official name.

Two options come to mind from my theatre background. One common trick is to take a length of duvateen or any other cloth really and cut diagonal slots in the middle of it. Attach both long ends to some speed rail or wood dowel. Secure one with some C-Stands and then the other would be attached to some line going through pullies. You then use the lines to raise and lower the loose end of the cloth which causes the contents to shift back and forther and trickle through the slots you created. This is much easier to make work correctly with some kind of overhead rigging available, but if the shot is tight enough you could certainly do it with just stands and pipe and some creativity. The other option that requires more fabrication would be to build a drum (much like what you would see for raffle tickets) with appropriate perforations to its surface to allow your material to trickle out of it, a hinged door with lock for loading your material and some kind of axle going through it so it can spin easily. Then hang or mount the drum above and use either a remotely controled motor or rope to spin the drum at what ever speed gives you the best effect. I am sure there are other options, but thought these might help! Good luck and I'd love to know what you come up with.

If I recall correctly LEE makes some really nice high heat version of their GELS which would likely hold up better with film lighting vs theatrical lighting where you are unlikely to see anything more than 1k.

Reminds me of Egyptian light reflectors. This would be an absolute nightmare to set up and make useful on a large scale set though. And using the sun seems like your light levels would become pretty inconsistent anywhere but high noon.

This is really awesome David and I have been noticing more and more where this gets used. I had no idea but now that I know... Thank you for the post and information!

Good stuff and interesting grade. I noticed during the longer time lapse segments you can see the ISO jumping on the camera as it gets darker. Ideally you would want to be controlling this with shutter/iris and not ISO since the other two work in much finer increments.

You can also get the zeiss 10-100 cheaper than the upgraded version and use a 1.4x lens extender to get sensor coverage. You loose a stop and bottom end becomes 14mm but you'll save 3000$

Lots of great tips here. If you don't mind I have a question to tag onto this. I am shooting a short which predominantly takes place in a car. Would love to do it practically as apposed to projected but the driving is on a major freeway and I can't help but thing process trailers at 65mph could be a legal issue etc.

http://www.bhphotovideo.com/c/product/1109663-REG/sachtler_sc302_deca_camera_rollpak.html I just purchased this recently and have fallen in love with it. It holds my gear for travel perfectly. Really nice build and sturdy. Has a back pocket for a laptop and fits in overhead perfectly.

Seems like a pretty simple case of rotoscoping and lining up the actors head carefully. Would be helpful to have a method to view the live camera and earlier take on the same monitor with 50% opacity so you can get things really close. Otherwise just a case of a little post work with a carefully planned setup.

Hi everyone, Wanted to share these little Vignettes I DP'd / Edited / Graded for a production done at Chicago's Goodman Theatre. These were shown on a 30' screen during the third act of the play to continue the story and provide a visual narrative while complex scene changes were going on up stage. We shot all pieces (including one which was cut) in 4 days about a month before we started technical rehearsals for the show. I would love some feedback from seasoned DPs so I can work to improve my craft. Password: bolano

As for the Micro's if you already exist or are looking at a BMPCC ecology there is very little change to cope with. You need an external monitor (which you should probably have anyways due to the very small size of the BMPCC monitor) and you would need a different cage. Its an identical price point to the bmpcc and you get MUCH better form factor for locations of items buttons and connections. Solid on board battery using standard LP-7s. 60FPS and Global Shutter at 30FPS and down, all that and the great imaging and color rendition of the bmpcc. Its an obvious upgrade in my opinion and fantastic camera at that price point.

So finally home from my last project and got a chance to really play with the lens and discovered it looks like I was sold a lemon. Something is in the center of the 1st or 2nd focus element from the front, looks like it might be mold. It obscures the image and is just well nasty. I'm contacting the seller to figure out a return or partial refund to cover the cost of servicing. Can anyone recommend a lens tech good with these older ziess lenses?

Witness isnt it?

My favorite film, might be obvious.

https://www.loc.gov/today/pr/images/davinci_drawing.jpg EDIT: And we have gone SERIOUSLY off topic. All I said is Vinyl looked great what ever it was shot on :P

You can't really say plastic wife because according to your analogy they can't be told apart. I think the most telling part of your analogy is that you put a very heavy weight on the emotional investment of film, equating it to a wife or loved one. Because you come from that place you are much more likely to pick the real thing, where as I, not knowing your wife (I have never shot on film outside of stills nor do I expect I ever will at this stage in the game) would likely be much more interested in the simulated version that is indistinguishable from the real one since I can get it to do more for me and in more interesting ways since its just a simulation. People talk about the fall off of highlights in film and the motion blur, I look really hard but I just don't see any kind of dramatic difference between the two except for the natural grain structure, which can be replicated digitally. It seems like its more of an ephemeral quality than something that can be measured. To my point of view having come up in a digital age and working with video and digital assets (never film) I have always striven for a film look, even when I was making my first movies on 3/4" tape decks with an old Ikegami ENG. I like the look of film, I like the feel of 24fps, I love the texture of grain and I love colors and tonality of film, but I also love having it all done digitally. So I am totally guilty of being an ignoramus when it comes to the art of shooting film, but I have seen and grown up looking at film.

Interesting, it had a very strong grain pattern in some shots so I was not sure if it was 35mm or not. Just goes to show in this day and age its about the look and the feel not necessarily the tool.