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Heath Orchard

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About Heath Orchard

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  • Occupation
    Cinematographer
  • Location
    San Francisco Bay Area

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  1. Hi everyone. I'm looking to purchase one of these before the end of the year and am curious to hear people's thoughts. I have lots of experience with the easy rig and use one on almost every shoot. However I have not used the new Stabil attachment yet. They seem to be marketing it for gimbal use but from what I can tell it seems like it would be hugely beneficial for general hand held use and finally let you get good walking shots with the easy rig. But the easy rig with the stabil attachment is quite expensive and still seems far from perfect. Enter the new and exciting Ergorig with it's slim form factor and reasonable price. I haven't had a chance to use one of these yet but I'm very interested. The catch for me is I shoot underslung a lot and the new Undersling attachment doesn't jump out to me as the perfect solution. But I haven't tried it so really have no idea. Does anyone here have experience with one or the other or even both? Thanks in advance for your responses. -Heath
  2. Very helpful everyone. Any advice on how to best provide post with a healthy digital negative? I worry about overexposure because I don’t want the colors to clip as Phil said, and I understand that’s not just a brightness issue. But I also worry that exposing a little under to get that saturation I want could make the sensor thin and won’t allow for pushing the colors in post at all. Not to mention introducing noise everywhere. This will be screened on a 10x30 ft screen so I definitely want to keep the image as clean as possible. Thanks! -Heath
  3. Thanks Miguel. Beautiful work on that commercial. I think more specifically I'm looking for advice on how to maintain clear separation of colors and make sure one color isn't completely polluting another. I'll most certainly be using a combination of hard and soft lighting. The other lingering question is how to set us up for the most success in post. Thanks, -Heath
  4. I have a shoot coming up this week and the directive is to do a series of extreme close ups of a persons body and ultimately reveal their face looking directly into the lens. All of the close ups and abstract shots should be shot using only vibrant and highly saturated colors that slowly desaturate over time until the light eventually becomes white as we finally see the face. We'll also be shooting in front a green screen. I have access to all sorts of RGB lights. Skypanels, Titans, Gemini, Lupo's, hard, soft, etc and I plan on doing some tests this week. In the meantime I'm looking for any suggestions or first hand experience this community may have in this area. What are the pitfalls I might not be expecting or things to watch out for? Is there a benefit to using harder or softer light? I'll be shooting on a Sony Venice 16 bit X-OCN with Kowa Anamorphics. I've provided images that were taken by a still photographer and given to me as a reference. Thanks in advance. Heath
  5. Hey Robin, I did indeed fry the SDI board. I've been using a 703 monitor with the camera as well as a teradek which seems like a pretty standard setup. I also have the Wooden Camera DBox which I've been using to power my accessories. BandPro told me Sony says to power down the monitor and the camera before plugging into any SDI ports which is just absurd when you're trying to move quick and trouble shoot problems. So bandpro's suggestion was to have everything plugged into the camera first and then plug into the accessories. Or was it the other way around... I've been trying to power down the camera to change ports whenever I can but to be honest I've never had this issue on any other camera in over 10 years and it's pretty disappointing. And my AC's don't even stop to think that it could be an issue so it feels like just a matter of time before it happens again. The camera is built like a tank and yet the board needs to be repaired in the first 3 months? I love the camera but it's frustrating to say the least. Suggestions on how to avoid this problem would be greatly appreciated. Thanks, -Heath
  6. Hi everyone, I’ve had my Venice for a few months now and generally love it. However after the v4 hardware upgrade (not saying this is the cause necessarily) I started noticing some output issues. First my Monitor out stopped sending a signal. I made due with the SDI ports for a while. Then on set the other day I suddenly couldn’t get a signal out to a monitor or teradek at all regardless of which port I used. And the weird thing is in the monitoring menu everything was pretty much greyed out and I wasn’t even able to attempt to change settings. Nothing had changed in my settings from my previous shoot so no idea what was going on there. I did a factory reset which did nothing. I’ve sent my camera back to bandpro to get looked at but curious to know if anyone else has had something like this happen or has seen other glitchy things going on with their Venice. -Heath
  7. Hello, I'm prepping for an upcoming project shooting on the Alexa LF. There's not a lot of opportunity on this particular project for lens tests and I'm hoping to get some insights from people who have first hand experience shooting with full frame lenses. Or if anyone can point me to a good resource for researching them online. I've read plenty about how great all these lenses are but not much about what makes one different from the other. I'm looking for any info regarding the unique character provided by different lenses such as the Signature Primes, Thalia, S7's, Panavision, etc. And aside from the modern lenses what vintage options are out there? I understand the K35s cover full frame as well as the Leica R and M. Any gotcha's I should be aware of when considering any of these lenses, modern or vintage? Thanks in advance! -Heath
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