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Alexis Fontana

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Posts posted by Alexis Fontana

  1. The main reason why your blog has become more and more obsolete is in my mind that the revolution with affordable cameras to shoot “cinematic” pictures with is over. It doesn’t really matter which one you buy these days, and that’s why the reviewers have changed to influencers pushing products. They’re all more than good enough to shoot films that can easily be accepted on to film festivals and streaming platforms. I usually shoot on Alexa mini LF, I’m familiar with the camera, it’s rock solid, easy to navigate, works with my ac’s WCU-4 follow focus, all that stuff. But that’s on commercials and the latest studio feature I’ve been fortunate enough to DP. I bought the pocket 6 pro this spring to use for personal projects and apart from less dynamic range in the highlights I’ve been able to match with my colorist to the Alexa 95%. That’s a 2500 $ camera. I’ve shot a no budget feature over the last 2 months on that camera. 25 shooting days, in all conditions, using only available light sources. It’s looking amazing. Can people outside of the industry tell a difference? Absolutely not. So - we’re in a situation where the gear doesn’t really matter anymore. Reliability, durability and support is still much better on the 60k+ camera systems, but the gear is not the obstacle anymore. 
     

    Now - the advertising jobs still has clients and agencies that needs to feel like they’re money is well spent and love to see a big camera and wireless monitors on set. Big lights and stands and 12x12 frames and lots of assistants working. “We make real movie” attitudes. 
    Depending on the client I sometimes ask the gaffer to put up extra lights and just turn them away so it looks more “professional”.

    But all that unnecessary performance doesn’t bother me. I get to try out new lenses, new support systems, new lamps, and I never went to film school so I use any and every opportunity to learn and develop new skills.

    And when someone pays me 2500$ a day I’ll put on a smile and try to make them as happy as possible.

    Which leeds to my final point. I can understand bitterness, it runs in my fathers family so I’m prone to it. But working with bitter people only makes me avoid any future relations. It’s destroying creative energy and closing doors to potential collaborators.

    Eoshd felt like it came from the heart, from true joy. Hasn’t felt like that for years. Whatever you need to sell, close down, pass on to move to a new place with joy and passion - go for it.
     

    Life’s too short bro. 

  2. 11 hours ago, lumbowski said:

    @Andrew Reid Thanks for that. Very helpful. It was an honest question, explaining that I know I'm missing something, in the hope of a little guidance. Maybe you've heard this question a million times, but I couldn't find much in the forum to help. 

    @Alexis Fontana I have read around the subject, I understand what LUTs do - why would I have bought this if I didn't think it would be of benefit? I guess I'm asking what I should expect from the EOSHD LUT. To your comments on the setup, which aren't related to the question I asked in any way, I had no control over what people wear and I point the mic down to counter plosives. 

    Ok. My bad on the mics - the ones I use are directional.

     

    Still, you may have read about Luts but you clearly don’t understand them. Also Luts are modern day snake oil so there’s that to consider. 

  3. So - there’s a few things going on here. 
     

    I suggest you try to google “what is a 3dlut” and watch some of many good videos that explains the concept. 
     

    Always try to avoid thin pinstripes in talents clothes, as they will often create moire as in your shot. 
     

    Also - try to point the microphone towards the talents mouth instead of pointing down. 

  4. Could you post a reference image to help clarify what you want to achieve?

    Best way to create fake sunlight is to use something like The Lightbridge reflectors - it’s all about creating the illusion of distance from the lightsource and making the beam parallel. 
     

    This is a good explanation on the subject and a diy project if you’re into that kind of thing:

     

  5. On 6/12/2021 at 11:19 AM, Django said:

    I've been doing some commercial shoots with the BM 6K's lately and the 6K PRO will probably be my next camera purchase. For the money it is kind of a no-brainer: 6K BRAW / ProRes, Dual ISO Super35 sensor, 5" bright LCD, best GUI, SD/CFAST/SSD storage options & internal NDs.

    That said, I do agree the biggest drawback is EF mount. While there are a large amount of EF cine lenses, they're on the bigger side and a lot of the more recent compact cine lenses including anamorphic lenses such as the SIRUI series are mirrorless mount exclusives. One of the big attractions of the 6K/6K Pro is 6K 2.4:1 ratio recording but I can't seem to find any affordable anamorphic EF lenses?

    But for client work, 6K RAW is really impressive and the cropping capability kind of a game changer as far as I'm concerned. Many of us had hoped the R5 would give you that in a hybrid but my experience with R6 is that its simply too unreliable to use on a commercial shoot. The Canons are good for b-cams / BTS purposes.

    As for ProRes vs H264/H265, while on many recent computers the processing difference may not be too obvious with 4K, I can assure you that with 6K its night & day as far as rendering, editing, playback. My iMac Pro struggles a bit with h264/h265 6K footage while ProRes cuts like cheese and renders 20x faster.

    The 6k 2.4:1 ratio has nothing to do with anamorphic - it just crops the recording to a widescreen image to save space (and derives you of the opportunity to reframe in post). 
     

    But what a magnificent camera the 6k pro is - and with the upcoming tilta viewfinder extension cable and mounting system, it’s like a budget Alexa mini.

     

    Will be shooting a no-budget featurefilm with it in July. 

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