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Justin Oakley

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Justin Oakley last won the day on May 14 2018

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About Justin Oakley

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    North Carolina

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  1. Wow, thanks for this! It’s cool that you took the time to respond with such a thorough explanation. Yes, ISO 1600...that’s what I meant. I think I understand most of what you wrote. That chart almost made sense but I got a little confused as to what information it was trying to convey. I shoot with the new pocket 4K from Blackmagic and recently started cranking away at a short I wrote. I filmed in Blackmagic RAW and I’m familiar with being able to change the iso and all that. This is my first time working with any flavor of RAW (I guess “technically” it’s not true RAW, but whatever. Another conversation that is out of my scope). I don’t have a light meter so I can’t really do what you had suggested...but I do get the gist. Again, I thought I kind of knew how stops worked. But I would see a camera test, or a test of the highlight recovery feature in Resolve for example, and there would be some remark like “I over exposed by 2 stops”...and I just kind of wondered how did he know exactly how many stops? Aside from the aperture ring on the lens I don’t really know how somebody would determine this. And of course, adding something like a variable ND filter like I use, I have NO idea how many stops up or down I am shooting at...as there are no markings or anything. Again, thanks for schooling me here. I’ve been trying to figure out how to form this question and you’ve helped me out a bit.
  2. Actually, it doesn’t. Not completely anyway. The halves, whole, and thirds columns represent stops of light? So if I’m shooting shutter: 1/30 - Fstop: 16 - ISO: 3200...that image is “properly” exposed? And if one wants to overexposed one stop, they either change shutter to 1/15, fstop to 11, or ISO to 3200?
  3. I’m sure this is probably a novice question, but I’m asking anyway. So when talking about exposure there are multiple factors to take into account—aperture, shutter, ISO, any other accessories you may be using, etc. I think I have an ok grasp of WHAT stops are. But I’m still a little confused as to how people know how many stops up or down they are shooting at? Like how do they quantify it? For example when they say “I brought it down three stops” are they referring to the marks on the aperture ring? Or are they just really good at “feeling” it or what? What if you’re changing the exposure of a shot without messing with the aperture? Like using a variable ND filter, for instance. “I under exposed the shot by like 3 1/2 stops using the variable ND”. I hope this question makes sense
  4. Yeah... I know. I figured it was a long shot. I just had one question. This is the only place I come to, filmmaking wise. Aside from various Facebook groups of course.
  5. Can we post or discuss questions regarding acting and other misc regarding film and television? I just had a (hopefully) quick question but I don’t want to get booted.
  6. Hello, I am shooting a 32nd commercial for a friend of mine who owns a business. His secretary sent me the requirements and submission information for the TV station. I have two questions 1) what is a “slate”, in the context of commercial submission? I know what a slate is, and I have one...the kind most filmmakers are familiar with. But I’m pretty sure this a different kind of slate. On the form I have it says the slate must include name, ISCI code, and length. I’m just wondering what they are looking for exactly. Do I just create something like a title with this information and stick it before the two seconds of black at the beginning of the commercial? Is “slate” just another name for a title page? 2) I looked up ISCI code (because I had no idea what it was), and from what I understand this is something that I would create personally…a unique, alphanumerical identifier for the commercial. In my Google search, I saw it described as having four letters and four numbers. But the example provided in the email was just 5 numbers. If anybody has personal experience with this, a little insight would be GREATLY appreciated. Thanks guys!
  7. Do you use their color tools as well or just the stock conversion?
  8. Totally makes sense. I dont think I have an experienced enough eye to appreciate different filmstock looks. Oh, the Fujifilm-whatever stock looks so good! Etc. Completely lost on me...like wines. You could put a $10 wine and a $500 one in front of me and I wouldnt be able to tell you the difference. I was wondering about this film convert thing because it costs enough money for me to want to research it. And from the few tutorials Ive seen on it, it has color correction/grading tools that I already use in other NLEs...so it seems kind of redundant for the price.
  9. Can somebody please explain this add on/plugin...or whatever it is? I get the basic concept, but I cant really find any good info on WHY one should use this over using the color grading tools that come with whatever NLE one uses. So it allows you to create a certain look of a certain film stock, using the color profile of your camera and some fancy math wizardry. Great! But I like color grading with my current NLE. And I have LUTs (should I choose to use them). And the software has a film grain effect. So what makes this filmconvert plug in so great? Is it a lazy way to color grade? Is it comparable to slapping a LUT on the image? Any insight would be great...especially personal experience using it.
  10. I wouldnt even know how to go about doing that. Its at the Chinese Theatre on Hollywood Blvd...and I live in North Carolina. I havent been to one either. There are two local theaters here and I asked yesterday if I could possibly test the DCP file there. Hopefully they let me.
  11. God I hope so. I really hate the idea of creating a somewhat watchable micro short and then having it look like trash in front of an audience. I had a Blu-ray and a DCP made...since it will be screened in an actual theater.
  12. Its been a couple months but if I remember correctly, since I deleted it from YouTube pretty much right after, it looked ok. Not as good as Vimeo. But not as crappy as it did on the tv.
  13. Whats up. Hopefully I can articulate this properly. Ok, so I made a micro short. It looked good when edited and color graded. I uploaded it to Vimeo...still looked good. When I watch it on my phone or MacBook, I like what I see. Theres no real color or contrast difference when viewing from these. So I uploaded the film to my YouTube channel so I could watch it on my tv. It looked like total CRAP. In addition to this gross, kind of muddy look, the colors look more desaturated, contrast looks off, dark areas looked wicked dark, etc. again...really gray and desaturated. So I kept jacking with the color settings on my tv to get it looking as sharp as possible...with a color at least damn close to how it looks on my computer and smartphone. In my mind, its the tv that is messed up since my image looks good on two other machines. But heres the thing that really confuses me, I can watch movies and shows on my tv and they look normal. Where is the disconnect here? Ok, so the film was selected for a film fest and will be screened during the shorts block. Fantastic! I had a couple Blu-rays made. I got them in today and popped one into the player. It looks slightly better than the YouTube video did. Colors still look...meh. Again, more desaturated than I would like. Is there something I need to do to my tv screen or what? It HAS to be the tv screen right?
  14. Thanks for the replies, guys. I am filling out a form online for a company that does this service. I do have a question regarding audio though. For audio output, can I select 5.1? Or should I keep it in stereo?
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