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Mitchell Priebe

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    Rochester, New York
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    BMPCC 4K, Zeiss CP.2 18mm T3.6, FSI DM240, Arri 650 Plus, DaVinci Resolve Studio
  • Specialties
    Focus pulling, lighting, color correction, operating

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  1. Since broadcast adheres to Rec. 709 standards, as long as you are working on a color reference monitor set to the Rec. 709 color space, you should be fine. Also, be sure to set the color space in your software of choice to rec. 709. In Davinci Resolve, this is the default working color space and can be found under the settings. Keep in mind that there are broadcast standards for saturation, which are usually marked on a vectorscope. Be sure that your color saturation does not go outside of these limits or the program may be rejected for not adhering to broadcast standards. I hope this helps.
  2. Not as far as I know. If you're using an Alexa Classic, you're limited to recording 2K or HD ProRes, which can be recorded internally on the camera to Sony SxS Pro Cards. Other Alexa models (XT/SXT/Mini etc.) can record higher resolution ProRes files (3.2K for XT and Mini, also 3.4K Open Gate ProRes on SXT) in camera.
  3. How are productions that shoot on Alexa cameras at resolutions such as 2.8K, 3.2K, and open gate 3.4K upscaling their footage for a 4K DI and delivery? While the Alexa Mini can internally upscale to UHD and the SXT can internally upscale to both UHD and DCI 4K, this is only an option for productions shooting ProRes, and many productions shoot ArriRaw 2.8K, 3.2K, or 3.4K and go through a 4K DI. What types of software are they using to upscale?
  4. Do you recall the type of light you were using for these shots? Also did they have gels on them to give that steel blue color?
  5. IMAX recently certified the Alexa LF/Mini LF, Alexa 65 IMAX, Sony Venice, Panavision Millenium DXL2, and the Red Monstro for their "filmed in IMAX" program, which suggests IMAX has a future ahead of it. It looks as though they're trying to give cinematographers multiple choices when it comes to selecting cameras for IMAX productions.
  6. Yes, I was very surprised by the weight! The stands I see these on in pictures look like they are very heavy-duty.
  7. The extra resolution of 4K matters more if you're sitting closer to the screen. Plus, the resolution of a traditional film print (not an original negative) is not exactly "4K." Also, there are 4K UHD blu-ray's available now with HDR. Depending on the display you're watching these on, you should get brighter highlights and a deeper black level than you get at a theater, unless it's a Dolby Vision theater.
  8. Yes, I should have mentioned that in my post. Thanks for pointing it out. A lot of the house locations where I've worked have 20a circuits, but I'm sure there's lots that still have 15a circuits. Always good to check before plugging anything in.
  9. The Arri M18 (an HMI) is one of the most powerful lights that can be plugged into a standard household outlet. Mole Richardson is producing some very powerful LED lights, including a 20K LED which can be powered through two standard 15 amp household circuits. I'd have to see more photometric data in order to compare it to other HMI or tungsten lights such as the M18.
  10. I'm from the Rochester, NY area (Kodak's headquarters) and have been hearing a lot about this on the local news. Hopefully this helps them out.
  11. I'm looking to get started with remote color grading and would like to know more about how I would get the media from my client for the color grade and then send the completed grade to them once I am done. I've been researching this topic and one colorist wrote that he recommends using a cloud storage service to transfer media for shorter projects with less footage and having the client mail the colorist a hard drive if there is a lot of footage, such as in a feature film. I would like to know if there are any colorists here who do remote grading and if so what cloud storage services you use to send and receive media and what your general workflow looks like in terms of sending and receiving media for remote projects. I anticipate most of the work I will be doing is grading short films. For reference, I am running the current version of DaVinci Resolve on a PC workstation. I would greatly appreciate someone sharing their knowledge on remote grading with me.
  12. If I were to move to LA or NYC how would I find these jobs? Mandy Crew, Production Hub, etc.? Thanks for responding.
  13. AJ, thank you for this information. I'm in a similar position and am not sure if I should stay local or eventually move to a larger market such as LA or NYC. I'm located in Upstate New York in a small town between Rochester and Syracuse. I'm currently working as a freelance cinematographer and camera crew member on local micro-budget short and feature films on weekends and nights, as I have a main job during the day Monday-Friday that is unrelated to film. Whenever things (hopefully!) get back to normal with Coronavirus, I plan on leaving my day job and freelancing full-time, as long as I feel I can get consistent work. I also want to try and find work as a camera PA on larger-budget productions to get experience on larger sets. A local professional told me I could find enough work locally without moving to a larger market such as LA or NYC, but I'm not quite sure. New York State also has tax incentives for film production and there have been some major studio films shot here, but I believe a lot of them bring in their own crew from outside. There aren't a ton of indie films shot around here and a lot of local indie cinematographers shoot weddings as well for additional work. Moving to a larger market would definitely be a major decision I would have to think carefully about. Did you know other professionals and/or have jobs lined up when you moved out to LA? Mitchell
  14. Arri has a certified pre-owned program where they sell all different models of Alexa cameras. They come with a one year warranty and are refurbished and inspected before shipping out. Personally, I'm considering this as an option in the future to buy an Alexa camera. Yes, the Classic is ten years old, but it's still the same Alev III CMOS sensor in the more recent Alexa cameras and it's still the gold standard of digital sensors in my opinion.
  15. Thanks for the Portkeys suggestion Tom. I looked this monitor up and it seems well built and the blue tooth model may be useful for me.
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