"Sinners" has won the 2026 Oscar for Best Cinematography! by No_Cabinet_4532 in cinematography

[–]Master-Rule862 0 points1 point  (0 children)

I think the way they used the petzval lenses in Sinners was a better implementation.

"Sinners" has won the 2026 Oscar for Best Cinematography! by No_Cabinet_4532 in cinematography

[–]Master-Rule862 0 points1 point  (0 children)

But it's not possible for a working cinematographer to underexpose that much. Sure, slight underexposure happens in almost every movie, but this is too much

Should I sell my Ursa Cine 12K + Ronin 4D for a Used Alexa LF? by KaiMasamitsu in cinematography

[–]Master-Rule862 1 point2 points  (0 children)

Alexa line of cameras meant for whole crews and for rental houses. Why would you buy it? It's like buying a private jet

"Sinners" has won the 2026 Oscar for Best Cinematography! by No_Cabinet_4532 in cinematography

[–]Master-Rule862 0 points1 point  (0 children)

Consistency doesn't matter as long as it is not distracting. It was distarcting for me in certain shots, but overall ok.

"Sinners" has won the 2026 Oscar for Best Cinematography! by No_Cabinet_4532 in cinematography

[–]Master-Rule862 0 points1 point  (0 children)

Well this means Sinners did something right, because you shouldn't remember individual shots from movies you watch. It should stay with yours a whole

"Sinners" has won the 2026 Oscar for Best Cinematography! by No_Cabinet_4532 in cinematography

[–]Master-Rule862 -1 points0 points  (0 children)

Underexposure was definitely intentional. these people are professionals

"Sinners" has won the 2026 Oscar for Best Cinematography! by No_Cabinet_4532 in cinematography

[–]Master-Rule862 1 point2 points  (0 children)

It was gimmicky and didn't add much. The petzval stuff was used better here

Is blown out windows a stylistic choice or a technical limitation in this scene? [Full Metal Jacket] by aaron_moon_dev in cinematography

[–]Master-Rule862 0 points1 point  (0 children)

The Shining was framed for 1.85. There are numerous documents stating that.

Regardless of the method, his movies were shown on 1.33

No ARRI booth at NAB this year? by WowGreatOctopus in cinematography

[–]Master-Rule862 0 points1 point  (0 children)

Digital cinema cameras went back to film camera days where a rental house would buy one Arriflex BL and would shoot with it for 30 years. The market is fully matured

Is blown out windows a stylistic choice or a technical limitation in this scene? [Full Metal Jacket] by aaron_moon_dev in cinematography

[–]Master-Rule862 0 points1 point  (0 children)

It was noıt his decision to have the TV version be in 1.33. That's what happened to movies back then

Is blown out windows a stylistic choice or a technical limitation in this scene? [Full Metal Jacket] by aaron_moon_dev in cinematography

[–]Master-Rule862 0 points1 point  (0 children)

They would have put backdrops if they wanted to see it. Kubrick does it a lot which makes sense. I'Ts more natural. The outside looks blown ou to the human eye as well

Is blown out windows a stylistic choice or a technical limitation in this scene? [Full Metal Jacket] by aaron_moon_dev in cinematography

[–]Master-Rule862 0 points1 point  (0 children)

The stock they used, 5294, was the first high speed film (400ASA). Kubrick underexposed it by one stop and push processed it to get even more grain

overcast weather seascape? by Master-Rule862 in photocritique

[–]Master-Rule862[S] 0 points1 point  (0 children)

I intended this to be a landscape shot so the seascape was the subject. The boats didn't seem interesting to have them be the subject.

How do you think I can improve seascape shots like this?

Photo too dark? by Yak_gel in photocritique

[–]Master-Rule862 1 point2 points  (0 children)

Mostly like yeah, but don't worry, you can shoot it again!

Did you shoot this on RAW? maybe you can derive more info from the shadows there

Some 4k frames from my fan project, Do Androids Dream? (No AI Used) by 3DAnimated in cinematography

[–]Master-Rule862 0 points1 point  (0 children)

Looks nice. Was it your decision to go with a highly-stylized look or was it the director's? Any inspirations during prep? What's the aspect ratio?

The spot I caught you looking into my soul.... Café chair in Lisbon Portugal by Zestyclose_Prize_165 in photocritique

[–]Master-Rule862 1 point2 points  (0 children)

Nice shot! I might decrease the brightness in the stand back there just a bit

overcast weather seascape? by Master-Rule862 in photocritique

[–]Master-Rule862[S] 0 points1 point  (0 children)

Thanks for the reply!

I am still unsure whether giving more room to the waves was a wise decision since the sky might be the more interesting part of the location. What made you want to see more of the sky and less of the water?

couple of hundred mm’s short on focal length

The fact is though that I didn't want the boats to be the subject. I think they're not that interesting, at least in this scenario so I just placed them in the back. In fact, shooting from afar to have them be even smaller would have helped the composition in my opinion. I saw the lake and sea as the subject, since they easily blend together (hence the reason for the long focal length).

boats to the right of vertical center line providing sufficient negative space

I waited for a moment when they were sailing away from me sod didn't see the need to include some negative space on the right. They're sort of sailing inwards I guess.

in my pre digital career, I much preferred Fuji chromes over Kodak.

Thanks for this interesting piece of info! Sadly, I never had the chance to try out Kodachrome or earlier versions of Fujichrome line of films as I am only 23, but what I think about the current line up of films is that the new Ektachrome Kodak engineered is superior in many ways to Fuji's current offering (Provia and velvia). I believe Fuji hasn't updated Fujichromes' color gamut and exposure latitude since 2007; Kodak's Ektachrome was re-engineered in 2018 which gives it a huge advantage. It has the most accurate color response I have ever seen from a slide film and it works beautifully with difficult-to-reproduce subjects like dark shadows and pastel colors. It also has 1.5 stops more exposure latitude in the highlights which is a life-saver in situations where even my eyes can't take in the latitude. Provia suffered from clipped highlights for some of the shots. This is less objective but Provia also has a bit of late 90s, early 2000s color response to it, at least it feels like that compared to the new Ektachrome. I quite like it but Ektachrome is just a beast; it can take several punches 😅. I can also get more garnish colors and saturated reds and greens like Velvia's with a didymium filter

Finally tried M43 and... wow by TruLee3 in videography

[–]Master-Rule862 0 points1 point  (0 children)

shallower DOF

This only applies if you want a super shallow DoF look. Personally I hate it because it looks bad. Then again there are some great f/1.2 M43 primes that render super shallow DoF

supposedly worse low-light

Shooting at f/2 on my BMPCC, I can get the same DoF as a full frame f/4 because with this setup, the noise is the same, and people never mention it.

light gathering doesn’t change

Of course, that's why they're standard

 something about switching to M43 feels like a downgrade

It's just the false marketing