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My Gear


Found 9 results

  1. I've always heard shooting color neg and pulling out all the color simply doesn't do what shooting black and white does. I plan to shoot a test of my own to see what I find on my own, but I'm interested in people's insight into this claim? This began with me trying to find as much Plus-X 7276 as I could for a short, because it's probably my favorite stuff full stop. but it's so old now that it's nearly impossible to find in large amounts, and like a lot of expired film, often comes without any guarantee of the quality of the storage. So I thought, why don't I just shoot 7203 with high contrast ratios and try to fake it? Do you think I'll even get in the same ballpark? 7276 is so shimmery and silky and punchy and grain free. Besides V3 color stocks being so low-con by design, are there any other reasons that make this not a great idea? Thanks!
  2. Hey gang, Haven't posted here before but I'm an avid reader. Thanks to everyone for your incredible insights over the years. I put together a lighting test with Dave Dugdale and a couple guys here in Denver to see how a few lights off of my truck compared when lighting an interview subject. We attempted to keep things scientific, though as we were doing the test we were reminded of the crazy number of variables there are when it comes to lighting. So we did our best with the gear we had to create some take aways. Check out this walkthrough video of tests we made.... https://youtu.be/5_3AgpU8o7U You can see some higher quality still comparisons here http://www.jdfnet.com/hmi-vs-led-vs-tungsten-vs-flo-light-tests/ I'm sure there's a number of things we can do different next time... please do share your thoughts on what was good, what was bad, and if we go for 2.0 what we might do differently! Thanks!!
  3. Okay, so I'm posting on this forum because I can't seem to find anything similar to this. What is the difference between the Arriflex and Arricam line? Like Arricam ST and Arriflex 435 or Arricam LT vs Arriflex 235?
  4. Hi, I'm new to the forum, so I'm sure that my question -- in typical "noob" fashion -- will be an obvious one; I'll ask it, nonetheless. As a young, aspiring cinematographer, I was recently advised by an experienced DoP to invest in a light meter, which I have done. I've found, however, that my readings will differ between incident and spot; the former tending to have my exposure higher than the latter. I know the difference between incident and reflected light, but am I incorrect to presume that the readings should be the same regardless? Or, am I in fact taking the readings wrongs all together? For spot metering, I will stand where my camera is and aim at the subject's face. For incident metering, I will place the meter in front of the subject, with the lumisphere facing my light source: in the provided example, the light was to the left of the subject's (my mother) face. So, I'm just looking for a bit of feedback regarding my metering techniques. What's the better option? Where should I be aiming the lumisphere when taking a reading? Where should I be aiming the spot? Thank you in advanced, Thomas.
  5. I was recently accepted to both UCLA and USC's film schools but I am having a very, very tough time making a decision. I will be a freshman this fall and I'm 100% sure I want to be a filmmaker. Throughout my life I have always been interested in writing. I started writing short stories in elementary and transitioned to writing screenplays in high school. My major for UCLA is Film & Television and my major for USC is Film & Television Production. I'm especially interested in Screenwriting, Directing, and Editing though I know I won't be able to declare concentrations until my junior year at the earliest. Also, I am from California so even though USC is more expensive, out of state tuition is not a factor. UCLA has been my dream school since I was nine years old so I'm completely incapable of making a non-biased decision here. Both are great schools which doesn't make this any easier. I love UCLA's campus and the creative freedom that comes with their film program a lot more than USC's, but USC comes with the trojan mafia which opens so many doors all on its own. I'm really stuck here and any advice would be helpful.
  6. Hi everyone I am sorry if I brought such a subject which has been discussed I guess so many times which is Film vs Digital, I don’t want to discuss the technical aspect I want more to see your opinion about the evolution of cinema and how tools can help doing this I watched recently the THR (The Hollywood reporter) roundtable (Cinematographers) you can watch in the link bellow. And they started as usual praising Film, which still looks better than Digital until NOWDAYS and I am sure Digital will surpass it in the next decade. And I can quote some what they said: Bruno Delbonnel “we are going from watchmaking if I may say so, an ArriFlex Camera or a Panavision Camera were like a Swiss Watchmaker, it was really precise, it cost a fortune .. $300k and now we gonna use camera which gonna be $2000, the problem is It’s an economical decision it’s not an Artistic decision, ….. “ With all my respect to them, First off, I don’t know if the guy has a clue about Digital cameras prices or he is comparing Film Camera to Panasonic DSLR’s !! And something that we really have to know, is it really just about money? Or Cinema/video tools have to evolve to give us better tools in the future that we can use to better tell stories ? If you watch the Roundtable, you find a lot of opinions regarding Old vs New tools which is for me a kind of “Orthodox” traditional way of thinking, that some of the Great Cinematographers still believe in, not just in this roundtable but in general, I would like quote some other things that have been said (About lenses sharpness, film grains, look, 3D,…) but I guess the post is long enough to mention this here. And I hope I can discuss this in details if people are interested To put it in a nutshell, Are we supposed to take care of Digital, evolve it in way it can be better than Film and even to Mimic Film for Film look lovers, or still praising film until the end of the days? Regards
  7. Hello everybody, Has anyone of you made a comparative test between Alexa and Amira under the same conditions? According to Tech Specs, both cameras have exactly the same sensor. But is it possible to tell the difference between the two cameras, assuming they are using the same codec and ISO settings, the same lens and t-stop and the same lighting conditions? I´m looking forward to hear your opinions and experiences about this. Thanks, Matteo
  8. What would you choose when buying your equipment and why, Lanparte vs Tilta? As far as I know both companies manufactured equipment in China for a fraction of cost for well known film corporations in the US and worldwide. One day they decided to make their own equipment and that's how they were born. I've read some extremely good reviews of equipment quality made by both Tilta and Lanparte. Does that mean that China can actually make high quality stuff?
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