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Found 7 results

  1. Hi every body, I'm selling some of my DSMC1 RED gear. - DSMC1 Side SSD Mini-Mag module - DSMC1 Low light optimized OLPF - DSMC1 Kippertie IR spectrum OLPF My Epic Dragon was stolen last year and I stil got some some stuff around that I'm not using. It's a bit of a rough time financially so I need to find some cash, that's why I'm selling. All the products are in Switzerland but can ship everywhere in the world as long as the buyer pay for the shipping method and all the customs fees applied. Products: - 1x new (only open box) DSMC1 RED
  2. How does the A7s and the BMCC compare against each other? Because I've just joined on as the DoP to shoot a feature on a BMCC, but given the nature of the film (shooting most of the time late at night), am wondering if a Sony A7s is better. Am curious about some direct comparisons between an A7S and a BMCC at night, and how they'd be able to grade, and how they'd be used in practise with lighting set ups (as if we can use a smaller lighting kit, that might help mitigate some of the cost of an A7S), their look, etc. As if so, I might then recommend to the director trying to find s
  3. Hi guys! I would like some advice on an upcoming small commercial project I have. I usually film narrative or documentary so I wanted to hear some suggestions about this particular corporate project. I have to film a black speaker with a dark background with smooth movements (slider) using close-ups and some wider shots. The speaker s black and red (picture attached) so they want to empathize those colors with the use of lighting. Like these two references: The space where I'm filming is very wide (the picture is attached on this post). I would film at night so I don
  4. Hey I hope all is well. I have an upcoming shoot that involves a party scene and I would like to include strobes and lights that pan and pivot. I've recently been looking at the work of Evan Prosofsky, Stuart Winecoff, and Steve Annis who have been producing some amazing work (in particular party/night scene work). Please find attached the links to the videos I'm referencing and some frame still frame grabs. If you guys could point me towards the kinds of lights I'm looking for that would be great. https://vimeo.com/129187816 - Stuart Winecoff (music video for Astronomyy) http
  5. Sharing a short film we just posted online, just in time for the NCAA tournament. I shot Alexa 4444 2k, superspeeds wide open most of the time. Some of our influences were a little Savides meets Soderbergh with a dash of Fincher. My friend Andrew Lewis Directed, Nice Dissolve in Brooklyn did the Color. Kyle Fasanella on steadicam. A confrontation with an old rival makes Zack Woods a media sensation hours before leading his underdog team into Game One of March Madness. Let me know what you think and enjoy!
  6. I thought the following test was interesting: http://www.cinematography.net/edited-pages/single-candle.html The MX sensor seems to do especially bad in this test. It's an extreme test (only one candle) but it seems to hold up what I've been suggesting, that all this talk of video being so much better than film in low light for the last 20 years doesn't hold up to much scrutiny. The Alexa and MX are high end large sensor cameras but at 800 ASA neither of them look very usable. The Alexa looks like it might be semi usable with a load of noise reduction at 800ASA. The MX stuff just lo
  7. Hi. I shooting a little narrative film on the Arri Alexa camera. We donĀ“t have the time to shoot a test before we start shooting and I watched some test online about how high you can go with the ISO in the camera in low light locations. Do anyone in here have good experience with the Alexa camera? And how high can I put the cameras ISO with out seeing to much noise in the blacks? Thanks, Henrik www.henrikameyer.com
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