andy lee

The cheap easy option is un diffused red heads lamps and put black bin liners on the windows to block out the sunlight

The cheap easy option is un diffused red heads lamps and put black bin liners on the windows to block out the sunlight

I have deleted and blocked 4 spammers in the last 2 days ! They do seem to be trying it on !

I have deleted and blocked 4 spammers in the last 2 days ! They do seem to be trying it on !

I have deleted and blocked 4 spammers in the last 2 days ! They do seem to be trying it on !

I have deleted and blocked 4 spammers in the last 2 days ! They do seem to be trying it on !

Nick Driftwood has built a 360 rig from 6 x gx7 and another rig from 6 x gh4s , making a 12k stitched image , I was talking with him last week about this , checkout his site dirftwood 360 , you dont need 4k cameras as you can stitch 6 x 1080p cameras

I'm sure they will , the Arri became industry standard due to the look , work flow and ease of use , with Codex Vault you are a great work flow from set to edit , so a 2.5 K camera with less resolution than some of the cameras here on this forum produced cinematic images in the right cinematographers hands , so resolution and 4k are not essential , its the lenses lighting composition and story ...is it entertaining ! That makes it cinematic . anyone on this forum can produce wonderful cinematic images with a bit of care and thought

I'm sure they will , the Arri became industry standard due to the look , work flow and ease of use , with Codex Vault you are a great work flow from set to edit , so a 2.5 K camera with less resolution than some of the cameras here on this forum produced cinematic images in the right cinematographers hands , so resolution and 4k are not essential , its the lenses lighting composition and story ...is it entertaining ! That makes it cinematic . anyone on this forum can produce wonderful cinematic images with a bit of care and thought

Yes jcs lens choose is essential for a cinematic look, most movies are shot digital now unless you are Christopher Nolan or Tarentino , the fact that all these films shot digital look cinematic shows its the cinematographers craft not the camera , also note the Arri Alexa is not a 4k camera yet its become the industry standard over the past 5 years , delivery and acquisition over the past year has altered for platforms like Netflix who now require 4k acquisition and work flow ,so some of these shows are now shot on RED Epic Dragon and Weapon cameras giving RED a new share of the market share from the Arri 

For me its all about the lenses and the lighting , lens focal length choose for the scene and also they type of lenses you use gives the cinematic look I run 24p and as flat a color profile as I can , but the camera is not making it cinematic it's the lenses - using selective focus and depth of field to draw your eyes to the subject in the fame is standard cinematic style film making , just get any 4 back issues of American Cinematographer from the past five years read them and you will see a pattern emerging of lens choice and lighting that define the cinematic look and you will see its the  cinematographers craft that make it cinematic not the camera .

Hi everyone,
I just began a new page of cool Sci-Fi texture images. Give it a look:
http://soundimage.org/txr-sci-fi/
I'll be adding many more images, including skins for creatures, aliens, etc.
Any requests?  
Btw, I've also had folks ask about how to credit me for my images. Please simply list me and my website under "Textures" in your credits section...there's no need to identify which images are mine...unless you really want to.  :-)
Anyhow, I think this is going to evolve into a really cool page. Hope it's helpful!

Eric

12. Use FOV/focal length for dramatic effect: a wide angle lens up close to the actor is distorted and 'crazy', a long lens from far away to give compressed isolation, etc.

This is exactly what I've been feeling. Thank you, Andy. And welcome back? I feel like I haven't seen you post in a while.

For me its all about the lenses and the lighting , lens focal length choose for the scene and also they type of lenses you use gives the cinematic look I run 24p and as flat a color profile as I can , but the camera is not making it cinematic it's the lenses - using selective focus and depth of field to draw your eyes to the subject in the fame is standard cinematic style film making , just get any 4 back issues of American Cinematographer from the past five years read them and you will see a pattern emerging of lens choice and lighting that define the cinematic look and you will see its the  cinematographers craft that make it cinematic not the camera .

For me its all about the lenses and the lighting , lens focal length choose for the scene and also they type of lenses you use gives the cinematic look I run 24p and as flat a color profile as I can , but the camera is not making it cinematic it's the lenses - using selective focus and depth of field to draw your eyes to the subject in the fame is standard cinematic style film making , just get any 4 back issues of American Cinematographer from the past five years read them and you will see a pattern emerging of lens choice and lighting that define the cinematic look and you will see its the  cinematographers craft that make it cinematic not the camera .

Some are more impartial than others, put it that way.
When you have personal relations with a nice man or nice woman from a marketing company or a camera company, you're not going to risk burning that bridge for the sake of a fully honest review which focuses on a number of negatives. You're just not.
Yes I myself have felt the pressure as well. I resisted and continue to do so.
If I cared about my relationship with people in the camera sales industry above the one I have with my own readers and followers, do you think I'd be blasting CInema5D on Twitter? I certainly wouldn't. For me though the blog is more important and shouldn't be 'sold' to the PR world.
It has indeed.
Well the latter part is fine by me. We can have different opinions based on experience and figure out which opinion suits our own experiences and how we intend to use the cameras we buy.
It doesn't.
Regardless, whether you call somebody out or not is a personal freedom.
Especially when it comes to your own blog and some flawed test that claims the rather wonderful GH5 is unusable.
The hype machine is very persuasive... These types of articles get the most attention.
The truth is there is no silver bullet, you cannot buy your way to filmmaking greatness with camera purchases.
But it helps to put your $1000, $2000 or $3000 on the right horse!!

I always just use the shutter release button on the front , never the small red video button

I always just use the shutter release button on the front , never the small red video button

You may like to see these pics of the new Fujinon 50-135mm Cabrio in E Mount - yes E mount !! - WHY OH WHY  !!!!
This lens is causing quite a stir since it was announced , Fujinons legendary Cabrio quality in an affordable lens - Mathew Ducclos is going to mod it and hack an inch off the back and add a Canon mount - now that is interesting now its usable by the masses !
I did speak with Tadashi Sasaki of Fujinon who said they MAY offer this lens in Micro 4/3 as it is possible to make without a huge retool - Now this lens with a GH5 would be a killer indie feature film makers dream !
 
Also the SLR Magic 8mm was at the show on the Holden stand on a GH5 - see pics ....approx £300 - available now

You may like to see these pics of the new Fujinon 50-135mm Cabrio in E Mount - yes E mount !! - WHY OH WHY  !!!!
This lens is causing quite a stir since it was announced , Fujinons legendary Cabrio quality in an affordable lens - Mathew Ducclos is going to mod it and hack an inch off the back and add a Canon mount - now that is interesting now its usable by the masses !
I did speak with Tadashi Sasaki of Fujinon who said they MAY offer this lens in Micro 4/3 as it is possible to make without a huge retool - Now this lens with a GH5 would be a killer indie feature film makers dream !
 
Also the SLR Magic 8mm was at the show on the Holden stand on a GH5 - see pics ....approx £300 - available now

You may like to see these pics of the new Fujinon 50-135mm Cabrio in E Mount - yes E mount !! - WHY OH WHY  !!!!
This lens is causing quite a stir since it was announced , Fujinons legendary Cabrio quality in an affordable lens - Mathew Ducclos is going to mod it and hack an inch off the back and add a Canon mount - now that is interesting now its usable by the masses !
I did speak with Tadashi Sasaki of Fujinon who said they MAY offer this lens in Micro 4/3 as it is possible to make without a huge retool - Now this lens with a GH5 would be a killer indie feature film makers dream !
 
Also the SLR Magic 8mm was at the show on the Holden stand on a GH5 - see pics ....approx £300 - available now

We gained from a narative point of view as the actors perfered this way of working doing longer takes and complex moves with marks all over the set floor became the norm, we did this alot and the movie gained from that freedom , I always opperated the A camera on every take so that handled all the complex moves and focus pulls ,
yeah Panasonic bullet time here we come !!
the Director wanted David Fincher/Nicolas Winding Refn style of shooting so alot shot on legs careful framing , using symmetery where we could find it , and slow dolly moves , the camera only moves when it needs to ,no sudden movemets or randon pans,  there are only about 6 or 7 hand held shot in the whole movie , the Director is not a fan of hand held Paul Greengass wobblecam ,
I do like the hand held look alot and my next film is a Bourne /Bond syle classic British spy film and Im shooting this movie mainly all hand held as it add a dynamic realismto that style of movie.....I'm just starting pre production and tests shoots for this film now.
here are 2 test shots from last week I did for the Spy film with one of the actresses Joanna Bright, Panasonic G7 and Nikon 28-70mm with Metabones XL Speedbooster.
Arri 300s and 150s gelled and diffused.

I personally would use the G7 as my main A camera and the GH4 as B camera , the g7 does have the better newer cleaner sensor .
I would shoot it all in 4K UHD 24 fps mp4 (internal codec is very good in 4K mode )
Natural profile saturation -5 contrast -5
dont go over 800 iso
light your sets for about f2.8 or f2 max
G7 focus assis is great it has 2 settings I use H
I would use your Zeiss primes as they are superb lenses same glass as Zeiss Ultra Speed cinema lenses - no differance
yes use the internal camera audio as I guide track and ADR it all in post
All the above is how I shot the feature film Pandora

it is alot cleaner in low light - the blacks are stunningly clean, cleaner than the Red Epic we tested it against, image looks very similar to the Arri Alexa we tested it against - there is hardly anything in it !! amazing camera from Panasonic   , the G7 camera lets you shoot in the shadows very cleanly in very low light. I am using 4 Panasonic G7 cameras for the new Pandora feature film I am DOP on , Panasonic have partnered up with us for this movie and we are working together to show how good the G7 is a film making tool. I am using Metabones XL Speedboosters on all the cameras, Brian Caldwell and Metabones have kindly supplied them for us to use in Nikon and EF mount . We are using these with Atomos Ninja Assassins and all the rigs for the movie are supplied by Gini Rigs , I will post some pics of these rigs soon.