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Adam Frisch FSF

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Adam Frisch FSF last won the day on August 18

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About Adam Frisch FSF

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  • Birthday 07/24/1971

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

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    http://www.adamfrisch.com

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  1. I can only say that editing is one of the most important tools in the making of a film. It is by far one of the most creative crafts in the arts. You can completely change the tone of any piece in editing, based on the exact same footage the director shot. It can take a film from bad to good all by itself, and vice versa, of course. So whenever I see it getting pooh-poohed, and treated as merely assembly that anyone can do with the right software, well, I just very strongly disagree. It is highly creative and very few people are good at it. But most think they are.
  2. Greg - saw it at the BAFTA screening. Manu - you'll just have to see if it feels that way like it did for me. Yes, John Wick 3 kills a lot more people, Expendables etc, it's not about the actual body count or violence per se, just the intersection between the emotional impact, in conjunction with the times, and this being a character that attracts a lot of followers that are already turned away socially. In many ways it is like Taxi Driver, but there weren't any 'incels' back then that went home and stocked up on assault rifles.
  3. Great movie very nicely shot by Lawrence Sher, ASC. A performance of a lifetime from Joaquin. He simply will win Oscar for it, there is no other option. Film is uncomfortable, very angst-ridden and full of impending doom and dread. Not necessarily a pleasant watch, but engaging and very well made. It's a character piece rather than an action movie. I have to be honest, I am a little worried in these strange times what it might motivate in the disenfranchised young (mostly) males. There was a Q&A after film with director Todd Phillips and a woman raised this very question. He kind of did what all us filmmakers do, and that is to say it's not up to us to filter, shy away from violence or not show mental illness, we can only ask questions, yada yadda etc. And normally I would agree with him, but like I said, I can't but help share that woman's fears, slightly. Seen by someone removed from good human interactions, perhaps with some confidence issues or mental problems, it could inspire the wrong thing. It is a powerful film that doesn't necessarily condemn it. First time I've ever felt that we as filmmakers actually do have a responsibility. Or maybe I'm just getting older. Nevertheless, a very powerful movie. It feels a little bit like it will create debate like Fight Club did 20 years ago.
  4. New bigger sensor, which is welcome. Not sure how they can call a 23x13mm sensor Super35 in size - it's nowhere near that. But hey, I'll take any sensor enlargement they got!
  5. So where are we a year later? Well, the LF cameras have not completely replaced the 35mm frame size quite yet as I predicted. My rental house friends say the Mini/Dragon still stands for the majority of the rentals. It is shifting, though. And I get the sense that the lenses was what was holding LF back. Or lack of, rather. Now with Cooke releasing 1.8x anamorphic to cover FF, Thalia's and lots of little smaller producers releasing interesting lenses, like Bardford Young ASC's company, Tribe7/Blackwing7, there will be interesting times ahead. The Sony Venice has made big inroads, and the new Mini LF is sure to be a hit. Will see where we are in another years time, but I think with anamorphic being more accessible in LF, it will start to win some hearts and minds.
  6. https://en.wikipedia.org/wiki/Frisch's_Law_of_Photography
  7. House renovation and life costs forces me to sell my recently rehoused vintage (spherical) LOMO lens set. This is a gorgeous set with an amazing vintage look without being unusably soft like some other classics. Gorgeous spherical "spinning top" flares and a perfect balance of old world organic charm and usability. Reminding me of vintage Cooke S2's and Schneider Xenon's of that era. Professionally rehoused at GL Optics and kept as my personal set at Camtec rentals in Los Angeles and well kept after. They all cover Super35 and most of them cover up to full 8K on the Red. On the Alexa Mini they all cover the full format except the 28mm where there's the slightest vignette and you have to drop to 2.8K or crop in about 10% in edit. 22mm T2.2 (covers to 7K) 28mm T2.8 (covers 6K fully or 7K HD with the slightest vignette) 35mm T2.2 (covers to 7K) 40mm T2.6 (covers 8k) 50mm T2.2 (covers 8K) 75mm T2.2 (covers 8K) 135mm T4.2 (covers 8K) Set comes in a professional custom case and includes the very rare 40mm focal length as well. Few spherical vintage LOMO sets around and certainly almost none with the 40mm in it. All iris is multi-blade to ensure perfectly round bokeh even stopped down. The 75mm has a slight nick on front element, but I did extensive testing with it before I even sent it off for conversion and it had no effect. Very easy to replace that element with one from Ebay, should you absolutely want to. Anyone is welcome to come have a look at them or test them at Camtec in Burbank. They're ready to shoot. I also have more photos of them if anyone wants. I have testes showing exactly what each lens covers. Here are some very short examples of how they look from a commercial: Here are some flare tests I did last year: Looking to get $19500 for the entire set, give or take. Please DM me for contact details!
  8. Obviously the democratization of technology and the cheap technology/low barriers to entry to film these days will result in more content. But probably not better content. I think we'll find that there will be roughly the same amount of awarded films today (when everyone can do it), as it were back in the days when the barrier was huge. Excellence finds a way through all the obstacles. It's just like music - Beatles had 4 audio channels to record on and extremely archaic mixers and equipment. Today you can have unlimited channels, layer all sorts of sounds, instruments, process it, mix it on a laptop, make people who can't sing sing in tune, etc. Is the music measurably better? There's more of it, that's for sure, but truly better? I'm not so sure. Technology is both very important and not at all important. Human thinking and creativity is important. And sometimes technology can enable that initially, or make new creative avenues possible, but in the end, it comes back to what humans do with it, not the other way around.
  9. Sure, when you're shooting docs for corporates or even smaller commercials, it does totally make sense to own. But for bigger productions, like larger commercials or features, it doesn't. Plus, you don't want to be the guy that stands on set with 100 crew staring at you and three producers screaming at you because you're gear broke down and it's gonna cost them an insurance day. With rental houses you have backups.
  10. I think Claudio has always enjoyed Sony products. But you're right - he's very technical and discerning, so he would probably not have used it had it had any real problems.
  11. The longer I do this, the more a realize that filmmaking is almost an impossible task to succeed at. The odds are so stacked against you, it's like winning a lottery ticket if it turns out great. I have nothing but respect for those that manage to pull of filmmaking and have every department pull in the same direction, despite all the odds, and elevate into something else. I also started out thinking it was easy. Now I know better.
  12. I would never own a camera these days. The time to make your investment back on it simply not enough unless it's dirt cheap. Friend of mine bought an Alexa LF last year for $120K. It's already more or less obsolete now that the Mini LF is coming out. It's hard to make $120K back in rentals in a year - that's $10K/month or rented out for at least 5 days/month. Not so easy, unless it goes on a feature (and there the discounts are so huge, you'll probably need it to be out 15-20 days/month instead of 5/month). Sure, it's rentals won't drop to 0, but they will substantially taper off with the Mini LF.
  13. Just used the Venice last week on a job. Loved the image quality and the internal ND's. But I've heard from a few big feature film shooters that the chip has a problem - fixed pattern noise and sensor banding in shadows. Probably won't be noticeable in regular shooting, but could be visible in VFX shots etc. It also has a speed problem only being able to do 30fps in 6K. The minute you need more than that, it will window the chip and drop to 4K, i.e zoom in. I don't understand why they can't just increase compression and use the same sensor size for higher speed. Drives me nuts windowing.
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