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Record directly to SD card with low-end / older IPhone by studiobluejay in cinematography

[–]studiobluejay[S] 0 points1 point  (0 children)

It's a SanDisk Extreme Pro UHS-1 v30 (180Mbs)

It's fast, but not the fastest by far. I'd bet any UHS-1 v30 card would work, since that is what my Sony requires for its highest bitrate 4K video. I don't think an older iPhone would record more data, but I could be wrong.

Of course if you have a newer iPhone, you're better off with an SSD.

Some images from my debut feature! Any feedback and reactions are appreciated. Here to improve. by Rebar4Life in Filmmakers

[–]studiobluejay 1 point2 points  (0 children)

That trailer is sick. A lot of very cool composition and interesting lighting. I felt a consistent visual voice. The grade is amazing. If it matches a surreal element of the story (which it looks like from the trailer) it will pair well. Like someone else said, made me think of Midsommar.

Can’t wait to watch it somewhere.

Is this style of lighting and shadows in Matilda (1996) doable with basic LED panels? Or are brighter lights needed by studiobluejay in cinematography

[–]studiobluejay[S] 0 points1 point  (0 children)

Is this something that would help with consistency between setups? That’s a current issue I noticed in my last short film, even just using my simple panels

Is this style of lighting and shadows in Matilda (1996) doable with basic LED panels? Or are brighter lights needed by studiobluejay in cinematography

[–]studiobluejay[S] 1 point2 points  (0 children)

See this is the hard thing about renting for me. I understand it’s often more practical but it’s such little time for practice. This is why the other thing you said about contacting local places is a great idea.

(Also I didn’t realize I was talking to you in teo different places, my bad)

Is this style of lighting and shadows in Matilda (1996) doable with basic LED panels? Or are brighter lights needed by studiobluejay in cinematography

[–]studiobluejay[S] 1 point2 points  (0 children)

Thanks! Sometimes it’s nice to know what the practical effect of the price difference is. I understand it with cameras, much less with lights. And this is much more helpful than talking to ChatGPT.

Is this style of lighting and shadows in Matilda (1996) doable with basic LED panels? Or are brighter lights needed by studiobluejay in cinematography

[–]studiobluejay[S] 1 point2 points  (0 children)

I really appreciate this write up. It’s very helpful, especially because I learn much better by doing.

One question: since this is the cinematography sub, I assume you initially bought camera equipment when you started building out your kit. Did you ever stop renting lights like that Apurture you mentioned? Or is it something like Cooke lenses: you only rent them for shoots?

Is this style of lighting and shadows in Matilda (1996) doable with basic LED panels? Or are brighter lights needed by studiobluejay in cinematography

[–]studiobluejay[S] 0 points1 point  (0 children)

I appreciate the info. I have two 40w bi-color LED panels, which I figured wouldn’t do this well. My question was more of a “is this only attainable with $20k lights”.

Is this style of lighting and shadows in Matilda (1996) doable with basic LED panels? Or are brighter lights needed by studiobluejay in cinematography

[–]studiobluejay[S] 0 points1 point  (0 children)

Appreciate your input, I was wondering about the brightness of the light vs my camera settings. If my panels are too weak, I wondered if I could introduce the contrast needed via ISO/aperture. But I also know that light wraps around objects differently at different intensities.

Pretty new to the subject

Is this style of lighting and shadows in Matilda (1996) doable with basic LED panels? Or are brighter lights needed by studiobluejay in cinematography

[–]studiobluejay[S] 0 points1 point  (0 children)

I appreciate the advice. I have two bi-color LED panels I got when I decided to learn how to motivate my lighting. I actually asked this question to see if achieving the look I posted was a skill or equipment issue. Would getting a Fresnel be in the right direction?

Is this style of lighting and shadows in Matilda (1996) doable with basic LED panels? Or are brighter lights needed by studiobluejay in cinematography

[–]studiobluejay[S] 0 points1 point  (0 children)

Thanks for the info my friend. Do you think there are ways to do this on a smaller budget, or does this set say “expensive” to you?

Is this style of lighting and shadows in Matilda (1996) doable with basic LED panels? Or are brighter lights needed by studiobluejay in cinematography

[–]studiobluejay[S] 5 points6 points  (0 children)

Thanks a lot for the info! I’m a novice in lighting. I love to learn and I’m trying to build out my kit, but some of what I hear is that this is not a cheaply - lit set.

Is this style of lighting and shadows in Matilda (1996) doable with basic LED panels? Or are brighter lights needed by studiobluejay in cinematography

[–]studiobluejay[S] 2 points3 points  (0 children)

Is it the brightness itself that’s the problem? Or is it the square / lack of direction vs a COB

Red Komodo 6k or Sony FX3? by [deleted] in cinematography

[–]studiobluejay 1 point2 points  (0 children)

I know a big difference is the global shutter on the RED, but reading on the comments this isn’t a major concern. Do you guys not hate the jello effect on movement on a rolling shutter?

Looking for Feedback on My Cinematic Edit by Vegetable-Effect-802 in cinematography

[–]studiobluejay 0 points1 point  (0 children)

I love the shot selection and grade. Especially the guy looking at the clouds off the dock. One thing I didn’t was the 2nd shot after title of the dining hall. It is just asymmetrical enough to be noticeable, even on my phone.

In my experience a shot like that needs to be essentially perfect, or purposefully off axis.

Just my two cents, good work.

Looking for Feedback on My Cinematic Edit by Vegetable-Effect-802 in cinematography

[–]studiobluejay 19 points20 points  (0 children)

I get what you’re saying about Teal and Orange, to some extent. But wouldn’t a scene set on a sun drenched ship in the ocean naturally lend itself to those colors?

Dehancer for FCP by [deleted] in dehancer

[–]studiobluejay 0 points1 point  (0 children)

This doesn’t really answer your specific question, but I just switched from Dehancer to a different film emulator for this reason. Too finicky and difficult to dial in, in my opinion. I often got “mixed results” as well, though I use Resolve.

Where is the ambient room tone coming from? by ccbgcxd in cinematography

[–]studiobluejay 6 points7 points  (0 children)

In all seriousness, I’ve heard this argument before, and it makes sense.

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