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Adam Frisch FSF

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Adam Frisch FSF last won the day on October 1 2018

Adam Frisch FSF had the most liked content!

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About Adam Frisch FSF

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  • Birthday 07/24/1971

Profile Information

  • Occupation
    Cinematographer
  • Location
    Los Angeles, USA
  • Specialties
    Swedish cinematographer now in Los Angeles.

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  • Website URL
    http://www.adamfrisch.com

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  1. In the commercial world, it's actually going the other way. Today every job I shoot, they want to be able to extract a square cut for Instagram. Even worse, they now also want to be able to use a vertical image (as if filming by phone) of 9x16. It's becoming a huge, huge pain. Films and TV are probably spared by this for a bit longer, but I wouldn't be surprised if becomes more of a request down the line. The way we're consuming media is completely changing. I see people watch entire seasons on their phone on the plane/bus/commute. It wouldn't take much for them to watch a whole season in the vertical format. Easier to hold the phone that way.
  2. My info is anecdotal, but from reliable source (owner of big rental house). I agree that TLS makes the best conversions I've seen.
  3. Just used the Supremes on an Alexa LF job. They're nice, but very clean and "German precision". I'd use them again for jobs where you'd maybe use Master Primes or Ultra Primes.
  4. TLS does gorgeous work, the best I would say. But they cost a fortune and the wait is forever. Prob more like 2 years to get it done. And what's worse - if any of their buddies or previous customers come along, they get slotted in before you. This has been a complaint from many rental houses I've spoken to - unless you're in with them or a larger customer, they'll work on your stuff last. I personally went with Nan and his company GL Optics in China. He's a standup guy and does good work. The precision of his lenses has also increased considerably and they're now close to being as tight as western conversions. His prices are very competitive, but he's also got a backlog these days. Prob count on close to a year to get a set done. But I'm using him again for my LF lens conversion. There's also a new kid here in LA that does conversions called Zero Optik. He does great work and I just played with his Angeniuex F0.95 conversion yesterday. Beautiful lens.
  5. Got too much clutter and poop everywhere, driving me nuts. I have pretty much every AC magazine since the late 80's and I thought rather than just dump it, let me check if someone here is interested. Now, many of the older magazines are a little water damaged and some pages stick together. Issues after the mid to late 90's are pristine. About 6 years worth of ICG magazines as well. But you have to take them all. They're in Hollywood area, so let me know if you want them. PM me if interested.
  6. Love the cinematography. Feels real in that Owen Roizman 70's way. Refreshing.
  7. 10-13amps in both countries. UK has a different plug than Sweden (Euro plug) does, but you can jam a Euro plug into a UK one as long as you first jam the ground and open the covers up. But it doesn't work the other way around.
  8. Two commercials I shot on the LF with the K35. Didn't get a "feel" for the K35's, somehow. They just looked a lot like any vanilla glass would, nothing that special in my view. A little chromatic aberration wide open, so had to stop down slightly on some of the shots. The night stuff is pretty wide open. We did have a few close-up's where the director thought it was too shallow depth of field, so had to stop those down (but they're not in these clips, they were for another ad that's not ready yet). But you can see the pretty dramatic drop-off in the mid shot of the mum in the car with her son in the back - there's a distinct difference in focus planes there. Not in love with the grade they made and they're not very exciting or great films, but at least something to compare to: https://vimeo.com/291560733 https://vimeo.com/291548337
  9. Shot the LF and K35 recently. Liked the camera, although it's very big and heavy, but the lenses were not a good match, I think. A little meh.
  10. Use the Inspire 2 with Zenmuse all the time on car commercials with 4K delivery. Cuts right in.
  11. Problem in hand: Client wants to shoot 120fps or potentially higher (maybe 200fps). Ideally Alexa, but not cast in stone. We want minimal depth-of-field, which means the largest sensor area for the speed needed (don't care if that means less resolution, as long as it doesn't start cropping into sensor too much). As we know, when we increase frame rate, most cameras both window the sensor and/or drop resolution. Don't want windowing, or at least minimal. Now I've just spent 1hr on the phone with people trying to find specs/resolution charts/windowing info and manuals etc trying to figure out which camera is best for these particular job parameters (i.e. what camera will allow the biggest sensor area for the given high speed). Surely, there must be an easier way? Is there no graphical tool or app where all these parameters between all cameras can be compared? It's driving me nuts.
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