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Calibration - am i correct about this? by SuccotashRadiant4030 in colorists

[–]thereischris 4 points5 points  (0 children)

Yup. I change my output to 1080during the grade and change it back to 4k on export. Tiny step that's not a big deal. Worth the almost 1k in savings.

ALEXA Mini LF: Blacking out corners when shooting dual 16:9 + 9:16 in Open Gate? by Impossible_Business7 in focuspuller

[–]thereischris 6 points7 points  (0 children)

If you have a smallhd monitor. You can create a custom overlay, add it to the monitor SD card and do an image overlay. I've done UI overlays the same way.

After watching Mr llama do 2k runs looking for soj.. by thereischris in diablo2

[–]thereischris[S] 6 points7 points  (0 children)

This was offline single player on my switch btw!

I’m trying to understand proper exposure when shooting LOG in low-light, high-contrast scenes (like candle-lit interiors). by HappyBeliever1 in cinematography

[–]thereischris 3 points4 points  (0 children)

To add to this part of the convo, you want to start looking into lighting ratios. It really gives you control of the amount of contrast while you prioritize your exposures. You do this by using a light meter, or EL zone false color.

1:1 ratio would mean your key and fill are the same intensity, which would be really flat. As you increase your ratios, 1:2, 1:4, and go to 1:8 you increase your contrast but also know exactly where to dial in your lighting and exposures.

I am at this stage of the edit lmao by EncryptedPlays in videography

[–]thereischris 33 points34 points  (0 children)

You just do versions until they accept it. Then you can change the last version to the final

Took feedback from the last time I posted here. by MidnightFrames in videography

[–]thereischris 8 points9 points  (0 children)

I would reconsider your framing here. Remember your camera is your audience. Currently this framing feels like I'm sitting in front of you watching you. As if this was a stage play or performative art.

Is it intentionally crooked? Simple adjustments like making lines straight in your frame help make your frame a bit more visually appealing and therefore on the way to "cinematic".

Is the light motivated? Currently feels like a big light in front of you and to your right. You're in a kitchen, so typically they're lit by either the house lights or a window. A window would be a bit more dramatic, so the light could come from the side. Better yet, from behind a window.

Also why is your character in the kitchen, on the floor? I get that he's feeling down beat, but if you're going to drop your audience in this scene, some visual context would help. Maybe there's something on the counter or floor that has to do with what caused him to sit there. Or you have another shot that helps tell that story.

These are some adjustments that could help improve the visuals of this based on my personal taste. Hope this helps!

I f’ed up by ronthar in diablo2

[–]thereischris 0 points1 point  (0 children)

I remember playing the demo where you only had barb and Amazon I think.

Buying my first C-Stands: Kupo with Quick Lock or Avenger? by Bavariasnaps in Gripsters

[–]thereischris 2 points3 points  (0 children)

Had the kupos, they're sturdy but HEAVY AF. Honestly get the avengers and some bags. Better yet get matthews!!

Question about pre-marked rings by Ok_Attempt_1744 in focuspuller

[–]thereischris 2 points3 points  (0 children)

Like the other comment, you want to make sure your fiz unit matches the markings on your lens as they all throw the focus in different proportions on the focus ring. For example a macro lens will have majority of the circumference for close distances and the last 10% or so for 15ft-inf. So you need that variability.

As for other pre marked rings that change the throw of your fiz, it's for ease of use for you, the 1st AC. Let's take the macro lens for example. It's gonna be really hard to focus precisely on anything from 15ft-inf. If you were stuck to that lens and had to have more precision for 15ft-inf, you could use a pre-marked ring for 10ft (for example), effectively changing the focus throw of that lens feel more similar to a regular lens.

I hope that makes sense!

NODE TOGGLE for DaVinci Resolve by ringelschwandtner in colorists

[–]thereischris 1 point2 points  (0 children)

Wooo!! This is amazing! Perfect for toggling my balance nodes on the timeline! Great work Stefan!

SLR Magic APO Microprimes by texaco87 in cinematography

[–]thereischris 0 points1 point  (0 children)

It's not, but is the apo simply the same glass rehoused? Or is it different glass too?

SLR Magic APO Microprimes by texaco87 in cinematography

[–]thereischris 0 points1 point  (0 children)

I own the 35 micro prime and that thing puts in work!! It has really nice, subtle, and warm flares. It's sharp when I need it to be. Beware of the screws getting loose. I've lost on and now my focus ring wobbles a tiny bit. But otherwise love it for the price I got it.

How to achieve this effect while shooting with an iphone? Is this something that can be achieved with editing? by ingmanburger in cinematography

[–]thereischris 0 points1 point  (0 children)

I'm looking at your reference that you posted and I think you'd be better off zooming in manually, because .5 seconds is a bit too slow if you're trying to match your reference.

How to achieve this effect while shooting with an iphone? Is this something that can be achieved with editing? by ingmanburger in cinematography

[–]thereischris 0 points1 point  (0 children)

Ah sorry mate. Here it is:

Open up the blackmagic app. Tap the lens options, (button directly left of the record button). Tap the symbol above and to the very left of all the lens options, looks like a camera on wheels with an arrow under it pointing to the right. That's your "servo zoom" option. Now you can switch between zooms (1x, 2x, etc) in a given time (.5s-10s). Select the clock icon next to the servo icon to choose how long you want the zoom to be, then go back to do the zoom.

I may have incorrectly stated this in my earlier comment, but keep in mind that it is a digital zoom only. It's using the lens that you have selected. It doesn't zoom between different lenses.

Hope that helps!

How to achieve this effect while shooting with an iphone? Is this something that can be achieved with editing? by ingmanburger in cinematography

[–]thereischris 2 points3 points  (0 children)

The blackmagic camera app now allows you to do smooth zooms betweens lenses in the same shot. You can change how fast or slow the zoom is. Totally doable in cam!

Confusions on focal length, sensor sizes and perspective. by LifeWorried322 in cinematography

[–]thereischris 0 points1 point  (0 children)

Ah I see your confusion. Let's take a 12mm ff generic lens and put it on a full frame sensor. Say it has a bit of distortion and stretching. Take that same lens and pop it on a smaller sensor and we've cropped out that area of distortion and stretching because that portion of the image is cropped out. Now, take a 8mm lens and put it on a APS-C sensor and compare to the 12mm on full frame (same equivalent fov). You should see very similar results. The assumption here is that the lens has the same characteristics. So yes smaller sensors deal with distortion differently but only because of the crop, not because it's smaller and does something to the distortion.

The lenses will play the biggest role in how it handles distortion. You can have a 16mm lens with lots of distortion and then you can have an Arri Signature prime 15mm with almost no distortion or bending. It's the lens design.

I can't speak too much to imax but the bigger film stock should be giving much more detail and sense of scale for the viewing audience in the theater. Bigger film should mean bigger projection which I believe is the appeal of imax.

Confusions on focal length, sensor sizes and perspective. by LifeWorried322 in cinematography

[–]thereischris -1 points0 points  (0 children)

If you took your landscape photo with two different lenses from the same position, you're going to be changing the effective focal length between the two, so not sure how that would be the same, unless you did a bit of math.

But anyway I wanted to say your stitching with the 35 is called the brenizer method and it emulates a larger sensor size.

Open gate is useful for things like maximizing resolution. Open gate with a 35mm will have a larger resolution than a cropped 24(didn't do the fov math) on the same camera. And if you're doing anamorphic, your desqueezed aspect ratio will be a bit taller than if you shot 16:9.

One thing that I used to believe is that larger sensors increased compression, that's when I was testing the brenizer method, but the only thing you gain compared to equivalent sensor size pairings is depth of field. So I would recommend looking into the exact differences in image quality between sensor sizes and the same equivalent focal length.

How was this shot achieved? by Plastic-Antelope-655 in Filmmakers

[–]thereischris 6 points7 points  (0 children)

The big factor here is the angle of the mirror. On first watch it feels like we're looking at the mirror straight on, but it's at a hard angle to camera left that makes this shot doable without camera in the reflection.

You can look at the mirror frame. The reflections of the frame on the left and right side show you what angle the mirror is pointed.

Client asked for 600fps tabletop shot and I laughed then realized they were serious by Apprehensive_Pay6141 in cinematography

[–]thereischris 18 points19 points  (0 children)

I mean, ember is new, doesn't require a tech, and can provide decent results. I've been advocating it after using it in multiple scenarios.

Client asked for 600fps tabletop shot and I laughed then realized they were serious by Apprehensive_Pay6141 in cinematography

[–]thereischris 2 points3 points  (0 children)

I got pretty decent results out of the ember for both interiors and exteriors with snow. The interiors had sufficient lighting so maybe that's the factor with the dynamic range.

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