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Jingtian Wang

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  1. Micro 4/3 is a camera sensor size, it's smaller than super 35 you mentioned. It's used mostly by mirrorless cameras that have a focus on video. I believe the reason that this is the case is because the smaller sensor is easier to cool. Thus they can fit more processing hardware in the body and thus deliver a better codec. It appears that they are mostly used by panasonic, olympus and maybe fujifilm (correct me if I'm wrong). But to make matters more confusing, micro 4/3 also refers to a lense mount. For the micro 4/3 sensor, thus you'll hear both micro 4/3 camera and lense. The advantages
  2. I'm not sure if this will still be relevant to you, after all it's 6 years later :D. But if it still helps, I've rented from their Frankfurt branch. Great people and great equipment. In fact, they seems to run a equipment cycling model, where they often sell equipment that are rather new by rental house standards to make space for new ones. They are a legit business and I wouldn't worry about buying from them. But seems like you're based in the states, and Pille is based in Germany, might want to figure out shipping. Best, J.
  3. In my opinion, I think if your goal is to become a DP, you shouldn't do much 1st AC, a straight jump from 2nd AC to DP is much more logical. Focus pulling is an art itself which has little to do with the DPs job. 1st AC tend to also be a lot more busy compared to 2nd AC, which means less time to learn what's going on. But I've seen it both ways so not the one to judge. My approach to owning cameras is similar to Canon/Nikon's approach to kit lens. Where if producer really don't have the budget, we can shoot something. This helps me capture some portion of the projects that need
  4. Based on what you said, I suppose you are referring to super 35 sensors. To that, I don't think s35 is the best anymore. Back in the film days, s35 film were used because it's a good balance between price and image. However, in digital, VV and 65mm cameras are becoming much more common. I used be loyal to s35 myself few years back, but after watching few pictures shot on larger format, I totally changed my mind. Alexa 65 or even LF shots is just at another level. But to answer your question, the only reason I could think of to choose s35 is for lens compatibility, as most older (pre 2010)
  5. Neil Oseman wrote this blog about how lighting styles of TV (including Netflix) and film have "changed place". which after I started paying attention to it, seems to be true: http://neiloseman.com/what-does-cinematic-mean/ (the section I'm referring to is about half way down the article).
  6. That shouldn't be the cause as dimming wasn't even a option on the units I had (2x2 and 2x1 with separated ballast) This sounds like the most plausible. The tubes had 2015 on there as their manufacture date. Not sure if this is considered old for Kino tubes?
  7. This is what I thought, and why this surprised me so much. I later realised it might be caused by bad black balance. So I re-balanced that took this shot. But same thing. This seems to only appear on the daylight bulbs and the tungsten seems fine to me.
  8. These were 242-k55 tubes.So the 2 pin version, unless I remember wrong, these were the original kinos tubes.
  9. While looking back at still grabs of today's shoot. I found shots to have a heavy magenta tint. This is very obvious in the first shot, and more subtle in the second. The shot is lit by a 1x2 kino and a 2x2 kino, both with k55 bulbs. I rented the light from a reputable rental house and the chances of anything being a knock off is very low; the fixtures and bulbs seemed fairly new to me but I can't tell for sure. The camera is white balanced correctly and rooms lights are turned off. The camera I used is a Panasonic Hcx 1000e. One potential cause might be my laptop screen as the shot
  10. Personally never had to budget or crew to go for one of these pieces. But from the numerous rental house visits I've had, it's clear the higher end house stock mainly Arri equipment and mid to lower tier ones stock third party. I suppose (but not 100% sure) this is because DPs on high end productions have more budget and less time, so they are willing to pay for the Arri to ensure quality and save time in prep. Where as mid - low end jobs have smaller budget so the DP needs to get smarter, and third party equipment is often just as good but some research needed for compatibility. And far
  11. That's a fair point and all, but what if you can literally create any set, subject and story as you wish (ignore all limits of physics); imagine you are getting the shot for your reel and your reel only. Like on "Dream Job, Massive Budget, would you Shoot Film or Digital". Would you prefer a wide or tide shot?
  12. Title says it all; do you prefer a wider or tider lens? And why? Imagine a clean a slate, you have total creative freedom and no need to "suit the scene". Make it interesting.
  13. By my understanding, you are making a one-off, non-commercial, just for fun production right? If this is the case I don't really advice you to go any buy any of the stuff you mentioned. It would be a few thousand dollars, and unless you are making money off of it, it's not worth it. In this case I would recommend you simply go ahead and rent, it might seem like spending few hundred per day is expensive, but it's actually very affordable for the quality you are getting. You can rent on weekends and only pay for one day, or rent for whole weeks and paying for 3 day/week. I don't really know
  14. You do have to consider that SLRs back then shoots film, so they generally have much less exposures on them due to the much higher per shot cost. I suppose most SLRs from back in the days don't have that many exposures on it, since even something like 5000 exposures would mean 140 rolls of 36 frame film, suppose very few shoots that many. Whereas today digital means many DSLRs are going through way more, and they certainly do fail. There's even a website for people to check how many exposures a given model's shutter might last (shuttercheck.app). But I digress.
  15. Seriously? They didn't see the problem of shooting live bullets indoors? Could you give more details on the production? Feels like a interesting story we should all hear. 🙂
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