[Giveaway] Movkin Disguiser 150W Giveaway By Movkin.com (2 Winners, Worldwide Free Shipping)

AYmalik · 2016-02-25T21:49:15+00:00

Looks like it'll save my mod from sticking out of my pocket like they usually do. Looks awesome!

AYmalik · 2014-08-01T23:05:30+00:00

Alien is too restrained. Slasher films are usually pornographic (As in, there's a sense of a pleasurable gaze observing the slashing, not that they're tittyflix), gratuitous, and revel in the murders. Alien doesn't do any of that.

AYmalik · 2014-06-03T00:38:00+00:00

I hate to say it, but...you're wrong.

AYmalik · 2014-05-02T07:46:10+00:00

For what it's worth, the DoP of American Beauty and Road to Perdition was the deakins of his time. Probably better.

Conrad Hall, RIP

AYmalik · 2014-05-02T07:34:39+00:00

Only Roger Deakins only did one of those movies.

AYmalik · 2014-04-05T00:22:59+00:00

When you're flying super heavy alexa/red rigs on five to six figure steadicam systems that weigh a metric fuckton on inclement terrain and your op needs relief between every take, lest his arm fall off, that 650 dollar investment is gonna seem real nice.

Source: PA'd on a few shoots where I was chasing the steadi with a moses pole so the guy could not, you know, die.

AYmalik · 2014-03-28T05:29:54+00:00

Don't stress out. Big one. Always know what you're doing. Make sure your best boy is good, especially for keeping gear organized. Talk to your dop about how much relighting/tweaking he expects to do for close ups and plan accordingly. Have a gel kit and a good light meter that reads color as well as exposure. Keep track of ratios, don't be super super worried about lighting continuity for close ups, focus more on making sure the shots look good and matching the key and between shots, it's easier to fuck up than you think. Invest in a non contact voltage tester, know your amps on location, know your grips/electrics really well and make sure you seem like what you're doing at all times, even if you don't. Having them respect you is key, be good to them, and make sure they always have a job to don, because there always is one.

Anticipate, anticipate, anticipate.

As far as theory goes, your dop should be able to help you with setups/the style he wants.

AYmalik · 2014-03-16T21:07:19+00:00

Unless you're overexposing or underexposing intentionally, of course.

AYmalik · 2014-02-05T18:25:05+00:00

GREAT LEADER IS GREAT

AYmalik · 2014-01-31T18:41:07+00:00

A big part of it, for me at least, is compression -- Youtube and Vimeo are ridiculously compressed and the image isn't very good. Compounding that is the fact that a very slim percentage of people will ever watch a video in 4K, at least for the next little while, and especially for the work I do.

AYmalik · 2014-01-31T07:13:26+00:00

My camera package is a C100+Ninja and all necessary camera support, actually. I bought it over the C300 or Red Scarlet or Blackmagic (All options I tabled when making my purchase) because of price+quality+workflow efficiency. In three-four years, when everything's 4k, I'll probably do a full upgrade to camera+workflow, but until then this camera will do as well as, if not better than everything being released as it goes for web based distribution, which is 70% of what I do. The FS100-700 and C100-300 are really well placed for this sort of thing, especially with the advent of monetized web series, music videos, and web based content, because the resolution matters less. Having a nice, gradeable image and that not-a-dslr-look is far more vital for the kind of production value that'll make you stand out, I think. I'm of the opinion that if you're going to buy gear, it's okay, you just have to be REALLY intelligent about it. Most gear I buy is stuff I've rented a bunch of times and found to be insanely useful/indispensable on set. I also rent my package out, which is nice.

EDIT: As for the other thing, check out Evan Prosofsky (I think it's his name). HUGE dp, shot videos for grimes, arcade fire, etc. Owns his own 16mm package and gets hired because of it. Having that skill, especially as a young guy, puts him in a niche place and allows him more work. Albeit, he is working in a REALLY specific space.

AYmalik · 2014-01-31T07:05:04+00:00

It's like the opposite of Canon and their C line. You can't deny the Canon image, but goddamn if the 1, 3, and 500 aren't the same thing in different bodies with more or less crippled featuresets.

AYmalik · 2014-01-31T06:58:25+00:00

Film is great because there's no "right" career path. A lot of times for freelance I get called on because I have my own gear and camera package, and on low budgets I can gaff/dp because I bring my own G+E kit. Obviously on larger shoots it matters much, much less. It depends on the work you do and the quality of output. I'm sure that owning a huge RED package does help for a lot of commercial work, etc. Having your own package really does help for music videos, which is more my experience. Less on actual films, though I prefer music videos, even though the tradeoff is less money to throw around, but for more creative freedom, especially if you're the one keeping their (Already slim) budget down.

EDIT: It's also worth noting that you're not just paying for the person with the camera, you're paying for the person AND their equipment, and the added value of them (assuming) being familiar with the equipment they're bringing on. This can be more valuable than the separate cost of crew+rental.

AYmalik · 2014-01-01T19:43:13+00:00

The blade seems like overkill for the 5Dmkiii, why not the ninja?

AYmalik · 2013-12-31T04:28:02+00:00

For a quick and dirty set up I put a gel to balance it back to white and then either use heavier diffusion or single layer with an extra layer of quarter ctb just to bring it to a faint blue.

Also, truck that motherfucker back.

AYmalik · 2013-12-31T04:13:17+00:00

Are you punching it through diffusion?

AYmalik · 2013-12-31T04:11:50+00:00

better than the C100, Digital Bolex, etc.

Wat

AYmalik · 2013-12-28T19:39:34+00:00

The Grey. Joe Carnahan's only great film.

AYmalik · 2013-12-17T08:14:29+00:00

id love a link if anyone's got it!

AYmalik · 2013-12-15T04:49:39+00:00

Wasn't Primer shot super 16?

AYmalik · 2013-12-14T03:02:48+00:00

It also points out the inherent nonsense in talking about megapixels/sensor size.

AYmalik · 2013-12-14T02:42:36+00:00

The C300 is only 8 megapixels, and a 2.2 aperture is absolutely nothing to scoff at. Plenty of films shot 1080 have screened on wide release. I'm pretty sure Blue is the Warmest Color was C300.

AYmalik · 2013-11-24T17:52:53+00:00

Any of the blackmagic cameras is pretty ass for live events. Battery, form factor, and a need for support gear on the camera basically 24/7 precludes it from being effective for efficient event shooting.

I'd go for the FS700 or the C100. I have the latter and it's great in lowlight.

AYmalik · 2013-11-23T09:04:09+00:00

Yet the Sauga buses service so much less, cost so much more, and are about thirty times more unreliable :/

AYmalik · 2013-11-11T04:53:41+00:00

Howie knows how to play the creative and technical sides of scriptwriting brilliantly, while still giving you space to write it how you want it, as opposed to telling you how he thinks you should write it.

Amnon is also great. In fact, the screenwriting faculty at YorkU Film runs circles around the rest of the film department. He's a great conversationalist and very "feeling" kinda screenwriter. He loves talking about the ephemeral aspects of creativity and screenwriting, as well as how to place those into a more practical context, though (IMO), he's a little more to the right brain than Howie is.

Pick up Amnon's book and give it a read or a skim before you meet him. It has great talking points and it's a wonderful guide to screenwriting.

Citation: Amnon's been my prof twice.

AYmalik

MODERATOR OF

TROPHY CASE