Christina Ava
-
Posts
228 -
Joined
-
Last visited
Content Type
Profiles
Forums
Articles
Posts posted by Christina Ava
-
-
same day rough edit!
password: ana
it was shot with a 135mm pentacon as a taking lens that was harder to focus than the anamorphic, and had some jag, so we kept losing the vertical allignment. I need to find a better taking lens..but over 100mm to keep it from vignnetting in the full frame, suggestions welcome!
-
-
Hello,
i need your help, im off to shoot a wedding and i decided to film the reception with my sankor c double focus on a 7d or mark 3, will see which.I will shoot with another mark 3 for safety with non anamorphic,just in case i destroy their wedding :)
I am confused concerning the setting of the Aspect ratio, im shooting 1920 24 frames PAL, do i keep the 16:9 or switch to 4:3
other options are
3:2
1:1
thank you
-
Unless your name is Terrence Malick and you are willing to burn bridges with practically every Hollywood star you have worked with. (and don't get me wrong: I love some of Malick's movies).
i thought that actors adore malick, and line up just to put their name on the credits, his direction of brad pitt, restored some lost respect i had for pitt. he has everyone in the movie focused and beautifully illuminated. have you heard that actors dont like working with him?
-
yes ive seen it, amazing doc. he died in 2007? :( i really liked shallow dof, but i started to notice that all my favorite directors-dp's shoot with extreme depth, and have very stylized compositions, almost everything in focus. as i said its my personal opinion, that the better you are the deeper your depth is, the more natural your light is, and the wider your lens becomes, then its all composition and meticulus work,
and to bring things into context, you now have a 4k camera, i bet gregg toland would have flipped with this tool in his hand..so much detail,to waste in blurry backgrounds and closeups.
-
Do you actually believe that?
yes matt i do. no its not something that just came up in my mind, check the work of lazlo covacs and zsigmond vilmos two of the best DPs still around ,check the work of gregg toland, probably the best cinematographer ever, he is the contrary of shallow depth of field, noted for his amazing ability to create extreme depth.(citizen cane)
it takes some extra talent to keep everything in focus,and keep it interesting, and no anamorphic is not just to preserve resolution, its an artistic choice, that needs alot of creative talent and expertise to pull through..you have a huge canvas and it needs to be perfect.
shallow dof, is a gimmick that we use to cover up our mistakes (me included) and make it look "cinematic", but wasnt covacs "easy rider" cinematic enough?
-
I want epic scenery, anamorphic, striking visuals, super rich colours and rich details. Sometimes I may want handheld camera-work, even black & white, a grungy low contrast low resolution feel. Why not start off with as high a quality image as you can get your hands on and rough it up? The glass in front of the lens in some shots in Kendy's movie is an example of that. Making stuff look less clean, less 'real', more magical and otherworldly.
The technology needs to keep improving and the shooter needs to stay on top of it.
I am already imagining ways where Kendy's video could have been improved in terms of lenses and cameras!
Kendy's style initialy is based on "gimmicks" shallow dof, framing low light, lo-fi mood, which are great because he compensates the lack of "high art" expensive cinema gear. (zeiss cinema lenses, arri cams,etc)
as he grows and (money rolls in) i think this will change.
Which brings me to the point of "filmic" quality. Shallow DOF is a gimmick, you direct the eyes of the audience to where you want them to look, and hide the (bad lighting, bad framing, cheap ugly backgrounds). The truly great DP&Director, keeps everything in focus, and you look at a moving "painting" where everything is balanced, and of course shoots wide, anamorphic being the ultimate, imo.
Lubezki: Many of them were the same rules we had on Tree of Life, where we avoided underexposing the negative and wanted a lot of depth of field. Terry doesn’t tell the audience where to look in the frame — if they want to look at the actors, they can, or if they prefer they can look behind them at the trees. We want complete depth and clarity in order for that to happen, so another rule is to shoot with film that is as grainless as possible — in general, Terry prefers images that are sharper rather than softer.
-
-
great ideas especially the color grading part, :D
bump
-
kendy ..pure talent! he has a page where he sells his canon picture style and how to grade it here: http://www.kendyty.com/#!stills/ck0q
This guy shoots everything he does with a Rebel T2i and Sigma 30mm, all handheld:
I need to go make a film ...
-
A huge amount of the action was entirely unrehearsed and relied upon setting up the cameras, recording and waiting, allowing circumstance to dictate what would be needed from each shot.
now this is gonzo...
-
Are other cameras different? That's not been my experience.
the black magic, and the previous gh cameras, even the gh4 as i can see now, needs a lot of correction to be "watchable"
colors come out flat, the purpose being probably to have the artistic freedom to grade them as you want.
Unless you are a skilled colorist, you need to spend hours upon hours to grade them.
-
yes i agree 100%. the mark three for its money is still a top camera for the following reasons
1. 100s of lenses to choose from! L-series! zeiss, vintage canon, everyone makes lenses specifically for this camera!
2. beautiful still photography Full Frame!, easy perfect photos fast professional raw
3. size, i cant even work with those tiny cameras, you feel you are holding a camera not a toy, doesnt need 100 paraphernalia to film, great live view size.
4. Full frame video, you put a 85mm lens and its stays 85mm!
5. NO COLOR CORRECTION! apply correct exposure-apply kalvin ,manual whitebalance, and you have the footage ready to cut, dont need to spend 100 hours making it look normal. huge time saver, forget the "ill fix it in post"
6.the "canon look" warm tones, balances greatly with zeiss lenses that are colder.
7.ML raw looks fantastic
8.solid bulid quality, not flimsy, ergonomic, all the buttons i need are not buried in menus
9.takes two memory cards
10.records sound internaly
11. iso 2000 has the same noise as iso 200! perfect for low light
:)
-
...........Wiseau made a movie that'll be more popular and memorable than anything most people with actual talent will ever do.
yes but if you have passion and work hard you can achieve everything, he reminds me Ed Wood with the sci fi movies in the 50s...
-
This was shot on film...
Therefore I have decided film is incapable of producing a filmic image!
where did you remember this movie "the room"? you know they hold screenings in cinemas to go see this epic cult, probably one of the worst movies ever made... as for the gh4 footage, everyone can have a pencil not everyone can write a book.
-
its still on pre-order in cvp where i get most of my stuff, but is it wise to get the first models that come out?
-
i am sure the zeiss will look much better than anything modern, im not sure if they adapt corectly on the mark 3,
i adapted the canon 85fd and it was a real hassle, but worth it.
also they dont actually come cheap, i think that with the conversion this should total the same as the new canon 35mm .
on the other hand the sharpness of the zeiss lenses fits perfectly the mark3 muddy sensor.
another idea is the Voigtlander 40mm f/2.0 Ultron SL-II, a very cute pancake for canon.
i just cant seem to bring mysellf to spend on Sigma lenses...i dont like the image they produce, but this is totally subjective, a matter of taste and i could be wrong.
-
Canon FD 24mm f1.4 - anywhere from £500-800 on ebay (you could be lucky & it has the red ring you're after!)
The Lens Doctor rates it, but his price for having converted it is £995 - interesting info on his website about the lens (scroll down)
http://www.thelensdoctor.co.uk/page13.html
This is an interesting/extensive list about M42 lenses & whether they hit the mirror on a 5D - but forget that as its quite list of lenses on offer!
this looks like an interesting lens the 24. i own the 85mm 1.2 converted from the lensdoctor, and its serious eye candy, the FD line features some superb lenses for video, only problem is the conversion with the mirror and not focusing to infinity even after the conversion in some cases.
-
What about the Samyang 1.4/35?
Hi John i ve heard they are not good at all at 1.4, there are a couple of brands like samyang that you actually get what you paid for, sigma is another brand that puts me off, but theres a lot people saying good things about the new "art" line, only it concerns photography, not sure about video.
-
boils down to 2 choices imo
- want cinema housing on your lens, better suited for video, at the expense of losing autofocus for photography : samyang 35mm cine lens
- want excellent price/performance, no cinema housing, with autofocus for your canon camera when taking pictures: sigma 35mm 1.4
Hi Karim, i dont care about photography that much my interest is in video, i ve heard that the samyang is not good wide open from people that use the lens...do you have it?
i havent seen any footage with the sigma 35mm, in photography its ok but video is completely different, and the lens should have a good chemistry with the camera, i would love to see footage shot on a mark 3 with a sigma....
br c.
-
One great alternative is the Canon EF 28 1.8. It only costs 1/3rd of the 35 1.4, is just a little bit wider and almost as sensitive.
It's a great lens for video too (I shoot weddings too during summertime).hi pascal, great idea, although the 1.8 is a bit of stopper, i try to film at dark with natural light so 1.4 is important to me...but good idea to search something a bit wider.
-
Compared to the Canon 35mm f/1.4L, the Sigma is supposed to be better in almost any regard and it's cheaper, too. There are tons of reviews of the new Sigma 35mm f/1.4, you should check them out. Bottom line of almost any review is that the new Sigma 35mm f/1.4 is as good, if not better than the Canon at a better price point.
thanks for the advice, i dont follow specs reviews because sometimes you read the specs and it looks great and then you see the actual footage and its meh! for me the lens is not mainly sharpeness, but color too, skin tones and overal feel. Thats why i want to see some footage..before i say its good...also i love the red rings of canon at a fault...:)
-
Dear fellows,
i need your advice on which 35mm lens i should get for my FF Canon.
Initially i wanted to buy the 35mm 1.4 L new or second hand...
But that also means i need to sell a kidney with a price tag of (new €1,172.09 the cheapest i can find in EU).
i know the lens, i have touched smelt and slept with it, its lovely.
Then there is the Sigma ( :wacko: )plastic fantastic....
35mm f/1.4 DG HSM ART Lens
a lot of marketing words but i have no idea if its worth it.
does anyone own the Sigma used it for video?PLEASE post a video with this lens..
Do you have in mind any other good 35mm lenses for video that dont require selling body parts in order to own?My two lenses to accompany this one is the zeiss 50mm 1,4 EF, and the canon 85mm 1,2 FD converted to ef..
thank you c.
-
...yes but radiation acts accumulatively, so travel to japan+daily radition from all electronic devices+a few trips with an airplane and x-ray
add a few radioactive lenses lying around the house..equals who knows what
dont know about you but if you have small kids or any pregnant ladies around, i wouldnt be so keen on keeping them.
and i think people should know which ones are radioactive...please add more in the list if you know any.
living anamorphic dangerously,help needed
In: Cameras
Posted
this is very interesting, the big wide optics, can they pair up with the 85mm canon L fd? and what a pair they would be..
i dont even know if redstan makes clamps so big
the point in the wedding is that you need to capture the moment and that means mobility, you have heads popping up in front of the camera, people coming and going...lights changing all the time..