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Found 4 results

  1. What's everyone's thoughts on consigning a camera at a reputable camera house? I'm considering purchasing for the first time and I want to hear your experiences with it: the good, the bad and the ugly. I have a good relationship at this place and I've been chatting with a trusted rental agent (and friend) for a few weeks as we've looked at the data: it seems like cameras will generally pay themselves off in about 2-3 years, including a standard 50/50 profit split. Is this a wise way to pay off a large investment? Thanks in advance, appreciate you all.
  2. Hey Guys and Gals, I've been working with the Varicam 35 for some time and have gathered a lot of experiences shooting commercials with this camera. I've been perusing this section of the forum and noticed a lack of actual user experiences. Panasonics marketing isn't also exactly stellar. I'd be happy to share my experiences with you. I'll do a quick overview: The Varicam 35 is a 4K Digital Cinema Camera, with a Super 35 Sensor, it shoots 12bit 444 AVCUltra at 30fps. 10bit 422 at up to 60fps and 200fps at 2K Resolution. I've shot with RED, Arri and Sony Digital Cinema Cameras and have found the Varicams sensor to deliver a very neutral, but detail rich image. Working with it in post has been a smooth ride so far. The AVCUltra Codec is however a rather CPU intensive codec. Skin tones are great and very well separated. As a colorist, I prefer them over REDs skin tones. Since they seldom need any adjustments. The 5000 ISO is pretty nifty. I don't use it very often, but every now and then it has saved production money or made things otherwise impossible possible. i.e. using a 1,8KW HMI instead of a 8K HMI at night. Or shooting with nothing but a string of fairy lights and still needing to stop down. I've been using the live grading features of this camera to create previews for clients and directors on set using LiveGrade Pro. It's great as the camera saves a LUT for every clip and the Proxies are created with the LUT burned in. So no need for offsite Dailies. If I'm not mistaken the 35 and LT have been used on quite a few Netflix Originals. -- Do you have any particular questions regarding the camera or the workflow? -- Some Stills from my work with this camera:
  3. Hello. I am happy to say this my first of hopefully many more posts on this board. If I may introduce myself, my name is Mayer Chalom and I am a 19 yr old student who has currently finished a year of architecture at Pratt Institute. Since high school I have worked as an event photographer (and continue to do so) [my portfolio can be viewed at www.mayermaxphotography.com]. Currently I am employed as a photographer and draftsmen for a design firm in New York. To make a long story short, I have quickly realized that I do not enjoy the professional aspects of architecture (there is very much a disconnect between practice and academia for those unaware) and have switched to Pratt's film/video program. At this point in time I am extremely interested in pursuing a career in cinematography and have some questions about ways of achieving my goals. First I would like to know if I am at a disadvantage for not attending the A list film schools (i.e USC, NYU, Chapman etc.). I currently have the benefit of a large scholarship at my university and would most likely not be offered a similar package if I transferred. I also believe I am apart of a rising program because of Pratt's completion of a brand new 20,000 sq ft facility that will be in close proximity to Steiner Studios. My past experiences in photography and design have definitely assured me that where you get your diploma is a moot point but there is a 1 percent of doubt that I would like to assess. Onto a less pedagogic matter, in the professional realm of cinematographer what is the job structure like? Are all jobs freelance? Are there production companies that employ full time directors of photography? Are there advertising agencies that ever have cinematographers on staff? Does the cinematographer have the responsibility of organizing the film crew (i.e gaffer, key grip, etc)? Does the cinematographer take on the role of the editor/animator/set designer now that we live in an ever increasing digital world with blurred professional delineations? Also lastly, are there still opportunities to enter the professional world as an assistant/runner/grip and slowly move up as a cinematographer or are "those days" part of a past époque? Thank you so much for sifting through the monologue. I appreciate any feedback and please visit my website at www.mayermaxphotography.com Thanks! Mayer Chalom
  4. Hi, Im 18 currently studying network and systems but I love film and all the behind the scenes and dont want to sit behind a desk for the rest of my life. I live inbetween leeds and manchester and have absolutly no idea where to get started, I dont finish till early june but I'd love to start getting experience on set. I found a lvl 2 and lvl 3 nvq specifically in gripping but I have to have worked as a grip for two years before being able to apply (seems a bit backwards to me? ) Where do I start? Just to note; I could move to london and use my trust fund to get me off the ground to do what I would absolufly love too. Thanks in advance :)
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