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Zak Forsman

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About Zak Forsman

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  1. That is not a minor quibble when it comes to our clients' confidence in us. We don't need any more hurdles (big or small) to doing our job and "selling" a client (who only knows enough to ask for a Red) on a different camera package gets old fast. If the EVA2 looked more like a baby Varicam, I would be very happy.
  2. Dear Panasonic, I would buy this L-mount, FF, 4K 120fps, EVA2 in a heartbeat. Signed, a former EVA1 owner that is getting by with two S1H bodies at the moment.
  3. I needed something that could get banged up traveling from shoot to shoot in situations where gear can get knocked around, so i didn't want to spend a lot. I bought this 2 years ago and have been very happy with it. Despite some battle scars, it's still kicking. $900 USD. Lilliput BM150-4K https://www.bhphotovideo.com/c/product/1248684-REG/lilliput_bm150_4k_15_6_carry_on_rackable_4k_broadcast.html
  4. Jason Zhang, the owner of the company, posted a test 4 months ago.
  5. if the battery element is important, the Nanlites are definitely better there. Quasar Science offers batteries but they look clunky and dangle from the power socket. I think The Nanlites last about two hours? In terms of equivalency, I'd estimate you'd need 6 or 7 Nanlite tubes to match the output of 4 Quasar Science tubes. But that's matching full power. I have run into situations where a single QS tube at 1% is too intense and I've run a strip of gaff tape down it to cut it down further.
  6. it isn't much, but I set up a couple of the Quasar RGB tubes for this test of a Z-Cam E2, Speedbooster, modded Contax-Zeiss combo. Honestly, this was less of a test and more of a chance to mess around with new gear while chatting with my buddy.
  7. Because of the price, I looked into the 4' Nanlite RGB tubes but remember some reviews saying they were underpowered. And the Quasar Science tubes had just gone on sale so I went with those and have been very happy.
  8. I don't think you're going to make any money going that route. if money isn't a goal, that's fine. but even if it's to be seen, the film will be buried so deep in their libraries that almost no one will even accidentally stumble upon it. a good avenue for indies that want eyeballs and decent money (that aren't picked up by a mini-major for distribution) is still cable VOD. it outperforms all other platforms. not that you shouldn't also get it onto itunes, netflix, prime, hulu, etc. but cable VOD will account for the majority of revenue. the last time i released a feature, it was 79% of revenue
  9. I've been doing this for a decade and 2017 was the first year that I cracked low six figures, before taxes. I shoot, edit, and color behind the scenes and EPK for the major studios. What I make after taxes is between me and my accountant. I live in Los Angeles so living expenses are astronomical. My advice: take care of your body. I tore my rotator cuff six months ago and lugging cases from job to job has been hell on earth. Still haven't fully healed.
  10. No, I own a Z-Cam F6 and have since november. It has had ProRes from the beginning.
  11. yep, this. They are both fantastic. I love shooting full frame *and* having the option to switch over to a S35 crop anytime i need to. The S1H I reserve for run and gun doc work, behind the scenes on movie sets, travel or anytime I want a light setup. I'm also thinking of selling my EVA1 and buying a second S1H (or S1) for perfectly matching A-Cam / B-Cam interviews. Z-Cam F6 packs in much higher framerates, ProRes, swappable mounts: EF/PL with E and M coming soon, and its anamorphic mode uses the full height of the sensor. I'd choose it over the S1H for narrative shorts/features, or m
  12. my serials are all pretty close. but I wouldn't worry to much about color. any difference, if there even is one, is going to be a minor shift that's easy to account for in post. This is my first camera with IBIS and it takes getting used to. When using manual lenses you have to remember to set IBIS for the correct focal length and I've managed to bungle that a few times already. I also learned (the hard way a few months ago) that IBIS is not something you want to use with an 18mm lens. Ruined more than half of my footage. Now, what I'm liking about the IBIS is that it doesn't feel like
  13. Seems people like pairing their S1H with Leica-R lenses... and I'm one of them! I'm shooting a short doc on my brother about his comic book, "I Am Not Okay With This", as it's currently being adapted into a series for Netflix. This will be the second time he's had a comic book adapted into a series. The first was "The End of the F*cking World" which did well, however, he told me that people would see him signing copies of the original comic at cons, and accuse him of "ripping off the show". So this time, i wanted to help raise his profile a bit when "I Am Not Okay With This" is released, and i
  14. I've had my Z-Cam F6 for a couple of weeks now. It's amazing what they have packed into this little camera. They gave me early access to the firmware they released yesterday which had a lot of color improvements. I also own an S1H and although i planned to sell one or the other, i'm keeping both. The S1H makes run and gun doc work easy. So when i'm hired to shoot behind the scenes footage by the studios, it'll be with the S1H. It will also serve as a B-Cam to my EVA1 for EPK interviews. The Z-Cam F6 on the other hand has strengths i'd want in a cinema camera that I'd use on productions where I
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