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Mario A. Peraza

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  1. I fell in love with this movie despite its shortcomings. It's a fantastic film that I feel is one of few to do stage productions well. I'm really enamored by its production design and its lighting. I'm so in love with how its lit up. It screams out big, bold, flashy, and dare I say... cinematic? 🤭 I can't help but acknowledge its high key/high contrast look as well. Everything from the lens choice and the focusing to the camera position and its movements really serve the purpose of the story well. It feels like I'm sitting as an audience in Broadway. I have a question though. Why does it have two cinematographers?
  2. I'm looking at some old films done on analog film cameras and a lot of them feature some type of tracking shot. I mean those with long focal lengths or with the camera moving alongside/forward/behind the subject and the subject is NOT following a straight path. I'm trying to wrap my head around spending hours upon hours of constant rehearsal and blocking just to get it right, and if you don't you have to practice all over again after watching the dailies. Was that how it was done? It's a lot easier with monitors now having focus peaking and having to rehearse once and having to keep a light note of the distance the actors are going to be.
  3. Specifically for the Arri Alexa EV. Does anyone know their rules regarding warranty with this camera? I can't click on a specific link to Arri's website and redirect me to their homepage. Also will they be able to provide some sort of part replacement if possible? There are many classic Alexa's on sale right now. I know they're a workhouse of a camera, but you can't really make an all-round choice without knowing there is/will be some sort of issue.
  4. Thanks guys great information all around. Makes me feel more confident in buying an analog film camera now :D I really am interested in old school things. I have a U-turn Orbit vinyl player, so having the what-was is so awesome. And since CSUN uses film for all of our projects it's going to help me build and refine skills regarding the raw process.
  5. I want to buy an analog film camera for my own personal use. I really value film as a medium to record images for it's raw use, I don't really value it as a competitive attribute for films against digital. I want to know if it will last and if it will be in the market for a while. There's a bunch of film cameras that are, unfortunately, relatively expensive but still at the sub $10,000 level. It makes me think they are still in demand for people who still have a desire to shoot in analog film. Does it make sense to buy for personal long term use?
  6. Would it make sense to reflect the light from underneath the tarp with a panel instead? Since I'm spreading light around to mimic sunlight
  7. So I'm scouting for a short film me and a buddy are planning on filming and we like his best friend's backyard. We learned that the sun gives off some really crazy vibes with the colors throughout the day. It's an open area but has tons of shading. Like in the morning it looks very cool, in the noon like normal daylight, but as soon as it hits the 2pm mark it quickly goes to warm and the entire area is lit up by the sun set. So imagine a ~20'x20' small backyard with trees covering the top and has less branches/leaves near the west side, almost open and it allows so much direct light in. What are ways we can make the most of our day without compromising continuity, and do we have to stick with the 4 hour limit we have? What would you guys do?
  8. This is in regards to the Zeiss 21-100mm LWZ.3 in PL-mount. Would it make sense to use it on an arriflex 235? Or a Arriflex 435? And to push it, an Aaton A-minima? Would it even work? As far as I know the flange distance between PL mounts are all universally the same, but the mirror shutter sticks out on film cameras. 1) Is this combination doable? 2) How can I find out what lenses were used for film cameras? 3) Do lenses affect what #'d perf'd the film stock is?
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