Alexis Fontana

No that’s makes it possible to use LPL-lenses on a M-mount camera. Guy needs it the other way around which can’t be done. Flange distance on m-mount is 18mm and on LPL-mount it’s 44mm so impossible to do.

Check out Nowness.com - it's like a curated Vimeo feed filled with short format films in all kinds of genres.

I have worked with Red cameras all the way back from Red ONE, every Alexa camera except the 65 and Sony Venice 1 and 2. The reason that stuff shot on those cameras look better is because of the people using them. They're in a point in their career where working with reliable and professional customer supported camera-systems is necessary to deliver the expected level of craftmanship. If we're only talking about gathering data on the sensor, more than 95% of people can't tell the difference from a Pocket 6K and an Alexa Mini if handled by a professional DP. Yes rolling shutter, yes highlight latitude, but those are extremes. One camera stands above the rest and that is the Alexa35 - i haven't been able to overexpose that camera yet, and it's built like a tank.

Yeah - no, then you didn’t read it or didn’t understand it. He literally sells televisions for a living. You’re a moron talking out of your ass. Moderator - delete my account if you will, this place is a waste of time.

What shutter speed do you usually use when taking photographs? If beyond 1/50 I would get a black magic for video and a dedicated stills camera for photos. It’s all about trade offs and what you’re willing to accept, also it’s nice to be able to shoot in portrait mode. I like having two systems as I feel it’s two different ways of thinking about image capture. Good luck

I that case I have no interest in a conversation with you, I really don’t care about those kind of ridiculous technical obsessions. I know how to light and frame and do - you know - cinematography work. To anyone interested in why HDR is a waste of time - go read this very informative Twitter thread.

I wouldn’t say they ruin the quality of the light but they do indeed change the characteristics a bit. Consider this - when you’re looking into the source from a slight angle there will be less surface area visible witch leads to a “harder” feel of the light hitting your subject. Not always bad though, and I don’t see any hotspots (except what to expect from an harder light) only slightly more defined shadow areas. This is where makeup can help a lot of you want a look that’s a bit more punchy but stay out of trouble with shiny areas. So - consider it’s a tool to both reduce spill in a quick and easy way with the slight change in characteristics and then use the knowledge to create the moods you’re aiming for. And like PPNS says - if you want to keep the softness use good old cutters and flags. Happy new year!

My last advice to you, I promise: sell your camera and write a book on how to alienate people. You sad little man.

That’s kind of a big compromise - don’t you think? Mitigating a colour fidelity issue by removing colours is hardly optimal. Not trying to troll at all. I’m coming from a background of being a working cinematographer represented by a very decent agency, shooting commercials around the world and just had my first feature premiere at TriBeCa last year. I’m trying my best to understand why you feel it is a necessity and also hint in a non-demeaning way that you’re putting your focus in all the wrong places. But hey man - you do you. Looking forward to seeing your kitchen film👍

No offence but that just sounds uninformed. You have an idea that one arbitrary format is better than another because of principles you haven’t explained and sounds to me like you’ve bought into the false idea of more K’s = better. What good is a perfect, no crop desqueezed anamorphic image when you can’t grade it without banding and cheap artefacts. I really don’t get where you’re coming from.

Why do you need to shoot Open Gate?

Hey Mr. Owl It would be helpful if you could send some framegrabs in addition to the photographs of you monitor/tv. I wouldn’t recommend grading for hdr from any 4:2:0 codec, since the larger colorspace and luminosity range will only show the limits of said codec even more pronounced. In general - any large uniform area with subtle gradients will show banding and macroblocking when you’re recording in a highly compressed codec. My advice would be to record in at least ProRes 422hq - maybe you need an external recorder?

Nothing??

Try me

Yes TIFF. No Luts