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Everything posted by squig

  1. Na. I'm thinking about 1080p raw with my 1.5x Iscorama for my feature, but a Pro Res raw update would make 4k manageable. It's the rolling shutter, color, and weight I need to know about before I jump in. An anamorphic mode would be nice too, especially for a smaller 120fps crop.
  2. The BMPCC4K is too wide for the Ronin M, so my 5D isn't going anywhere.
  3. Looks like it's a 1.9x crop. 1.2x speed boosted. No ProRes raw, yet. Should be doable in a firmware update.
  4. Hopefully far enough that the color doesn't go weird shooting tungsten.
  5. squig

    NAB 2018

    Never let cinematographers into the house.
  6. All I know is I'll be staying away from pocket 4k threads until it ships. I've heard enough people crying about not having cameras they pre-ordered for one lifetime. Although the schadenfreude of the dude announcing he just walked into a shop and bought one before everybody else got their pre-orders is tempting.
  7. squig

    NAB 2018

    So I'm thinking maybe the sensor/lens mount bit is detachable, like a micro with a pocket attachment wifi controller/monitor. Or maybe I just watched too much Thunderbirds.
  8. Congrats, you made a cyberpunk earring. Now if you'll excuse me, I've gotta go sacrifice my first born to the film gods for sparing my 128Gb extreme pro.
  9. Give it a few days just to be on the safe side. The null pointer bug was discovered and fixed within a few days.
  10. He's a puppy dog. It was only a problem with that one build. Try a build a few weeks old, the latest one is always a bit risky.
  11. I made this one alone, the budget was $20 (pork dumplings) This one cost me $1200; I needed an assistant to flicker a light outside in one scene (lightning)
  12. Depends, I usually update to test new features that I may want to use, but unless you really need those features there's no compelling reason to update.
  13. As far as I know, it's only an issue with the experimental build.
  14. On the advice from the head of my film school I went nuts on my first screenplay: naval battles, pussy grabbing, cock biting, aliens, nuclear war. It ended up being a $10-20 million dollar movie . And then I thought to myself: nobody's gonna be crazy enough to give me $10 million to make a movie (that was before Trump). So then I wrote a prequel with a budget of $100-200 thousand in mind. It was a lot harder to write, but in some ways it's a better film; more character development, deeper meaning etc. The hardest thing for me to write are shorts; I'm not a big fan of shorts, and I tried to avoid making another one for ages, but no awesome short, no money . So I finally came up with a short version of the GAMMA prequel that works. Now I just have to shoot the damn thing The budget is $3000, but I'm gonna make it look like $30,000. House in a mountain town is a good start; locations I know often end up as inspiration for my writing. In fact I wrote the GAMMA prequel based on ideas that came from a derelict house I'd been shooting in. Our first project at film school was to create a narrative with 10 Polaroids. My partner and I were living in a mountain house at the time. I made a 10 frame horror film: stalker outside in the foggy night. girl in the shower. stalker breaks in and stabs the girl in the shower. Everybody was blown away because it looked so damn real. It worked because the location was perfectly creepy and it was a simple idea well executed. I don't know if you're thinking of doing horror; most horror films are shit, but they're very profitable and can be made well on a small budget, which makes them a good way to break in to the industry. The GAMMA prequel is psychological horror with a kind of a Shining vibe in a post-apocalyptic world. To date I've worked with a maximum crew of 3 (including me) It just takes a bit more time to get things done. Being writer, director, producer, cinematographer isn't easy, but you can do it if you're fierce. Planning is key; I'm going to light and pre-shoot most of my short with my kids standing in for the actors. Lighting, blocking, framing, and camera movement are crucial story elements. The biggest limitations are self-imposed. I'm gonna stop now before this turns into a jcs essay
  15. You need to talk to a1ex on the ML forum. It's a very serious bug and could brick your camera.
  16. Lulz. I think the same thing every time I look at anything I ever shot; then I think "fuck it" and get on to the next thing.
  17. I've always thought the F35 has the most filmic (35mm) look out of all the digital cameras straight out of the box; same goes with the D16. CMOS just looks too real without post processing. There's just something about the way CCD sensors capture light compared to CMOS I suppose; it's just too bad they suck in low light and there aren't many to choose from. Fujifilm have come the closest to making CMOS look like film out of the box, I wish they'd make a proper digital cinema camera. I'm a bit surprised with your Alexa tests, the Dragon did more for me (never been a Red fanboy), which was the opposite of what I expected, but there's tonnes of great looking Alexa stuff so like the 5D Mk3 it's just a matter of good post work I suppose. I can see the color noise in the shadows, crushing the blacks a bit hides it. For projects without much of a post budget and minimal low light shooting the F35 fits the bill; the best bang for buck too.
  18. Y'all better not be fuckin' with me Ed. I'll fly over there, hook up with some brothers, and whoop that gentrifyin' ass.
  19. I liked C, F, then A for skin. B & E lacked warmth. Overcast? In the street I like F, A, then C. C looked a bit too magenta. The sky was overcast for E, I think it could look good in the sun. B didn't do a lot for me. I'm gonna guess F is either the Alexa or the F65, but fuck knows. What's the asterisk on F signify Ed? Ed (if you've got a 5D Mk3 handy) would you mind grabbing the skin tone shot @ 3k raw? A decent 50mm at f/2 will match up.
  20. Yeah, that's it. And until the film fairy delivers me a 19mm Leica-r ROM (over $4000 USD) it means mixing lenses.
  21. 1080p raw has enough detail with Leica-r glass, and the widest Leica-r I have is 24mm. It's a 1.81x crop @ 3168x1320 (2.39:1)
  22. I want an 80D too for the DPAF. I'm mostly just using crop mode for establishing shots, the benefit being higher resolution (pixels plus no line skipping), the deeper DOF in crop mode is handy too.
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