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Stephen Sanchez

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About Stephen Sanchez

  • Rank

  • Birthday 10/17/1985

Profile Information

  • Occupation
    Cinematographer
  • Location
    Tampa, Florida
  • My Gear
    FS7, FX9
  • Specialties
    Studying light

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  1. My first reaction was 28mm. The lens looks to be between 24 and 32. I think you're on the right track. The f-stop in the video was not that deep. It might have been at a f4 or f5.6 and the operator rack focuses during that run. If you show up with enough light to hit f16, then I think you're pretty well covered IMHO. A note. If you're shooting at night, is it possible to get a camera with higher ISO range? The FX9 has dual native ISO of 800/4000, Varicam 35 is 800/5000. Running a higher ISO will give more sensitivity to stop down if you're worried about enough light for DOF.
  2. The mirror is also called a "first surface mirror." Wiki link :https://en.wikipedia.org/wiki/First_surface_mirror Take care not to scratch the surface as it's unprotected. I would get a couple for this reason. Accidents do happen. Here's a link on cleaning as well: https://www.advancedoptics.com/how-to-clean-AlSiO-coated-front-surface-mirrors.html#:~:text=Gently wipe the mirror surface,leave any streaks or spots.
  3. This is slightly off-stubject, but Tamron makes a 45mm 1.8 with stabilization. I own it and it's wonderful. This might be a side-option where lens is concerned.
  4. Stuart's case in point: I got a Godox 32" photography octobox when I first started and put a 750w Tota light in it. This held up for 6 months I believe, before it degraded from the heat and snapped the rods. But to be clear, it was for studio interviews and was never broken down or moved. The constant teardown and setup will likely wear faster. So that's the life I got out of that solution. Afterward I bought a photoflex softbox on ebay specifically intended for hotlights and had a jolly time blasting a 2k open-face into with no problem (which is a very hot light).
  5. Agree with Guillaume. Godox has really started competing for Aputure's customers. Those are the only two companies I would go with on a budget. They have research and reputation you can rely on. Unfortunately $200 is a small budget for an LED light you intend to use for a main source. $700 is where you begin to get the foot candles necessary for key-sized diffusions. 80w is rather low IMHO. I wouldn't go with 100w minimum for LED. If you're dead set on this light, then is there a possibility of mounting the softbox speedring to the stand? If instead the softbox was on the stand and let the light hang off, perhaps that could be your answer. I've seen photography gear like this in some form.
  6. Like Bradley said, Kino Freestyle might be perfect because the LED panel is removable from the housing. See picture below. Another lightweight option might be a small array of Quasar RGB tubes. I had a gaffer once mount 4 on top two c-stand arms with gaff tape for an overhead. Quasars also have the benefit of fitting into old Kino 4ft housings (that grip houses convert themselves), which will make louvers and skirts easier to rig from.
  7. No single trick works. I use a combination of the following: Double-Net outside window. Polarizer (to attack interior floor light reflections) or sunlight kick off street/trees Shoot into trees or dark colors, not a white fence (sometimes must be timed with the sun) ND gel on windows. It is expensive but smaller windows can be treated inexpensively. Punchy HMI Key. 1200 or M18's is a good start. But it also depends on your key size. 2x 2500's may be better if lighting a larger space with larger rags. This is of course, if lighting from inside. If trying to push through a window... I'd imagine 18k, but that's out of my experience range. I'd advise against shooting something big into the ceiling to "raise the light floor" or "create ambient." I becomes toppy light and unnatural indoors. Always light from the side, as if window light is reaching them. I did this once with a 4K Arrisun in the ceiling and gave me about a 15-ft of well balanced lift against the outside. But it was so unnatural as they walked inside. If you can afford it, go with punchier lights like 2500s or 4Ks. You can always take away light.
  8. That Rosco Optiscuplt was designed to spread the light, not focus it, unfortunately. Aadyntech Punch/Jab lights come with similar spread filters to compensate for its fixed focus. But there may be hope. Arri Skypannels have a "intensifier" inserts available that does what you're talking about. Of course Arri specific will be expensive. But there must be a third party manufacturer of the same technology. My understanding is the insert is comprised of micro-lenses.
  9. Yes. I assume you're talking about nets (I know scrims as metal wire inserts). Interesting... Matthews used to have the option to re-cover frames. But it seems to be missing from history. Maybe due to COVID. They do have a fabric section I assume to re-wrap your frames yourself, although I've never done this; I've only ever sent them in for re-cover service. https://www.msegrip.com/collections/fabrics For UK, I suggest to call local rental houses for contacts, as they probably have to re-cover frames now and then. And call grip or rag manufacturing companies in your country. For example, grip companies in america are Modern Grip Equipment and Advantage Grip, both in addition to Matthews I've used for re-covers in the years. Hope this helps!
  10. The productions around here are requiring liability waivers. So if you get sick, it's your fault, not the studio's. I think production companies will continue to want to make money, especially with the choice of waiver requirement.
  11. As of right now. Here in Florida/Georgia, some productions have popped up. All are a skeleton crew, available to those willing to work. The producer is sometimes skyped in on laptop with a minimum crew on location. Crew of four seems to be it, from talking to others. Masks on. Also, there is a strong shift toward remote productions. Aside from the above. I've seen traditional testimonials replaced with cell phone footage recorded by the talent themselves. It is intentionally DIY and video-chat-like representing the current times. Smart and cheap. A friend running a rental house in Tampa said he's had tons of requests for a Blackmagic Web Presenter which is supposed to take an SDI camera feed and trick a computer into thinking its a USB plug-in web cam.
  12. Phil, I'd love some PhotonBeam 80 redeads! But they're so expensive, and low output comparatively. LEDs like the Aputure 120D, and Litepanels Astra are punchy enough for exact replacements. Still, though, no spot-flood :( FYI, Astras are low wattage (105w), but they get around this by sinking the LED emitters in little reflector cones, and gives them a spotty throw. The 6x versions might suggest they've formed a more efficient emitter.
  13. Whatever lights you get, do a test with them and your camera. I would make sure their white balance is similar Not every manufacturer sets daylight to 5600k. Some lights, like the Sokani X60 is at 6000k. This can be corrected with 1/8 or 1/4 CTO, but try to find matched fixtures so you're not always pulling out gels. Their product page would display the color temperature. There is however a magenta/green balance can can be present. It's not common among reputable manufacturers. Quasar Science did have a magenta-shifted batch of tubes a year ago that I got a hold of. So there's always a possibility. If you do ever have it, they can be corrected with plus green or minus green gel. They come in strengths of 1/8th, 1/4, 1/2, 1. I've found that 1/8 and 1/4 seem to be where LED shift can lie, but I haven't used all LEDs ever made (I heard AnandTech Punch shifts green by a large amount).
  14. I was talking about for his experiment: finding an IRE for each skin tone on he Fitzpatrick scale he posted. The topic of exposure is subjective to each shooter, but it shouldn't keep someone from experimenting.
  15. The 308X is a great light meter. I bought it when I came out. It's compact enough for a pocket, which is awesome. It slips into a side pouch easy. I do sometimes wish I had a one degree spot meter on it like the 758. Especially when im outside away from camera and need to meter the BG tree shade against the sky light, only to find it's 4 stops under when I place camera and look at it. But it's compact for a reason. Non-swivel head hasn't bothered me one bit.
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