Alexis Fontana

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.

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.

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.

Absolutely take the pro, internal ND speeds up workflow tremendously and the evf is a great add-on especially when the tilta extension unit finally starts shipping.

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:

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.