Matthias Claflin

I believe the HBO series "Room 104" takes place entirely in a hotel/motel room. That may be a good place to start. I'm not certain, (I've only seen one episode) but I think it's a twilight zone type show, but the constant is the hotel/motel room they are in.

I've only used the non DS versions, but the 360 view on the DS version on the B&H site doesn't have "DS" on it either. It just has a "II" since the DS was the second generation of the rokinon cine lenses, it may just say "II" instead of "DS"

AS and DS are not mutually exclusive. The AS in the Rokinon lenses means Aspherical. Even the DS versions have "AS" written on the lens. It may actually be a DS lens.

I have used both DS and non DS lenses. I noticed that my 85mm T1.5 non DS has a green cast that my 35mm T1.5 non DS doesn't have. It is very easy to remove. I have a preset in my NLE that I apply to everything I shoot on the 85 before grading it (to match my 35.) That said, I can't say I've noticed any sharpness difference between any of the Rokinon or Samyang cine lenses. They are the same glass as the Xeen series so they should be the same sharpness as the Xeen lenses.

I'm not sure where he is seeing it, but Canon has been using the 800% number for a while when advertising cameras with WideDR. Specifically their ENG Cameras (XA and XF series).

So as far as the photographer who shoots Leica- and I don't want to speak for him but, I believe it is an aesthetic choice. He shot Canon 5D mkii and mkiii with the 24-70 f/2.8 II and the 70-200 f/2.8 IS for a while and got bored creatively with it. He is far more interested in the art of photography than the commercial of it so he wanted a system that got him excited about the art he was creating. One of his Leica cameras is a black and white CCD sensor camera, so he definitely isn't trying to make his job easier. He shoots only primes as well. I shoot primes only because wedding video i

I may be mistaken, but the Sony A- series of cameras records to XAVC-S which is essentially a 4:2:0 50mbps 8 bit codec (in HD).

Hey guys, I really appreciate the input here. From what I understand, there is little reason to get a 135 if you don't need the distance. I understand that a lot of wedding videographers use lenses like 70-200, but I avoid zooms like this if I can. The reason I do is because of the photographer I work with in weddings uses Leica rangefinder cameras with all prime lenses. If I'm not mistaken, his longest lens is a 90mm. I've been borrowing the 24-105 from the company I shoot corporate work for when I need it (since we rarely shoot anything on the weekends) so maybe I'll stick with that for now.

So I'm looking to buy a new lens and am curious how often people use the 135mm focal length. Current Camera/Lenses - Canon C100 (mki) Rokinon 16mm T2.2 Rokinon 35mm T1.5 Rokinon 85mm T1.5 Canon 50mm f/1.8 (that I hate) The Problem - I do a mix of corporate, music videos, and weddings. I shoot most of my corporate stuff on a Sigma 24-105 f/4 (owned by the company I shoot corporate work for) or a 35mm prime (that I own). I'm more interested in expanding my lens set for my creative work in music videos and weddings. I need something with some reach (for my

Well the Sony RX0 II has S-log and image stabilization built in. The S-log, would definitely help with the latitude you'd need.

I have heard good things about the Sony RX0 II. The GoPro doesn't specify what size the sensor is, but the RX0 II has a 1" sensor. I think the RX0 gives a better image and codec. The Sony is also has S-log and can output 4:2:2 4k from the HDMI output. If you chose to record to an external recorder you could save battery life on the cameras themselves, get higher quality footage, and record directly to SSDs instead of handling a bunch of micro SD cards. If you recorded into something like the Atomos Ninja V, you could record straight to a 1tb or 2tb SSD. At the lowest bitrate for DNxHD (4.3MB/s

On that budget, I'd probably suggest some second hand tungsten fresnels (which is what I currently have in my kit). I would recommend getting at least 3. I started with (2) 1000w fresnels and (1) 420w fresnel. The issue with fresnels (and why they seem to be selling cheap on eBay) is that they run hot and use lots of power. I got my two 1k lights for 75USD and 100USD and the 420W for 65USD. Of course I patiently watched eBay for deals and bought one of the 1k's with the wrong electrical plug and had to re-wire it. The 420W failed on me about two months in and it also needed to be re-wired as p

Thanks Bruce, Thanks for the tip. I think i'll turn off one of the 1k fresnel lights so the soft zip acts more like a key. I have the green screen lit with two 500w lowel omni lights at the moment. I think I want to pull the output down on those lights a bit. Do you think that a diffusion gel would get the desired effect, or maybe just stick to buying some scrims? I'm just not sure what would be best (without buying new lights) to knock down the exposure of the screen. Just a bit.

I don't know how scientific this website is, but I've used this before to help with pre-planning. Worth a look. https://www.dofmaster.com/dofjs.html

Backstory: I work with a company doing corporate video work in my area. We recently moved into a new office where we were able to dedicate a 12x12 wall for green screen. We just finished painting it with Rosco DigiComp Green. I lit it for the first time yesterday and though I think the wall looks great, I'm not thrilled with the way it's lit. This is what it looks like: Lighting Diagram: Canon C100: ISO: 640, PP: WideDR, WB: 2900k, Lens: 35mm Rokinon T8.0 My Concern: I think the green screen itself is too bright. I find it easier to key (personally) if the screen is a