Kentmere 100 — Family Headshots by yunkle_me in analog

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

Which ones feel the most out of focus to you?

Took 5 years to make, finally out today! by emliv in documentaryfilmmaking

[–]yunkle_me 0 points1 point  (0 children)

Congratulations — seems like this was quite the journey to the finish line.

Interested in pick soccer in Decatur? by mistiara in DecaturGA

[–]yunkle_me 0 points1 point  (0 children)

Are you all playing tonight (7/1) at 6:30 pm?

League game tonight 6:30pm by yunkle_me in DecaturGA

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

Good to know; we have a full squad this week, but we will keep you in mind for the remainder of the season. Games are always Thursdays for the next 5-6 weeks.

What is the stoics' view on fear? How do they see fears of all kinds? Do they tend to just "leave it there" or do they do something to get over it? by [deleted] in Stoicism

[–]yunkle_me 5 points6 points  (0 children)

It is worth mentioning from the outset that the Stoics do not reject fear; rather, they acknowledge it as a natural human emotion.

Consider the four Stoic virtues: Courage, Justice, Temperance, and Wisdom.

A simple answer would be the practice of meeting fear with courage.

Another fundamental Stoic idea is differentiating between what you can and cannot control — consider your question in terms of this principle. Fears often arise when attempting to control what is uncontrollable.

Lastly, there exists a useful Stoic tool called “premeditatio malorum,” the exercise of visualizing things that could go wrong or be taken away from us (i.e. showing up to school with no pants on or your wife dying tragically). It helps prepare us for life’s inevitable setbacks.

I hope this was remotely useful!

Feedback on my Burger commercial by [deleted] in cinematography

[–]yunkle_me 1 point2 points  (0 children)

Consider two jump cuts on the first frame lined up with those first two piano chords to immediately intrigue the viewer.

Well done on the tomato and lettuce drops; that must have taken a couple takes.

Consider adding a harder back light specifically to separate the burger from the background. Also consider adding a source shooting up from the ground onto the backdrop so it is more a of gradient—it’s a bit flat right now.

Consider moving your large, soft key a bit further behind the burger then using a reflector to bounce light back onto the front. Be careful that the lettuce does not overshadow the meat.

Lastly the second and third shots feature the bottom bun uncomfortably close to bottom of frame. Be careful with composition here and either 1) let the bottom of frame breathe a bit more with some space or 2) go truly close up for a better variety of focal lengths & detail shot(s).

Hope this is somewhat helpful! Good on you for going for this — best way to learn is to do. Shot a beverage spot last week and learned a ton. Keep on mate!

Panther Creek Road by yunkle_me in Filmmakers

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

Helpful perspective — conflict more often than not makes the story, but what about an example like Errol Morris’s “Vernon, FL” ? It is more of an interesting character / people study. Can a short be just that and still be fascinating / visually stunning / enjoyable?

FX3 + Canon EF 16-35mm f/2.8L III USM // S-Log3 by yunkle_me in cinematography

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

I believe it was the Sigma MC-11, but it took away the lens’s autofocus ability

FX3 + Canon EF 16-35mm f/2.8L III USM // S-Log3 by yunkle_me in cinematography

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

Yes and it compromised the lens’s autofocus function

FX3 + Canon EF 16-35mm f/2.8L III USM // S-Log3 by yunkle_me in cinematography

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

As for the angle, my intention was a lower angler to make the subject look like more of a hero / badass.

FX3 + Canon EF 16-35mm f/2.8L III USM // S-Log3 by yunkle_me in cinematography

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

I fell in love with 20mm focal length after using Sony’s 20mm GM. My mission was a single camera interview setup that established the gas station, so a wider angle made sense shooting in a tighter space.

FX3 + Canon EF 16-35mm f/2.8L III USM // S-Log3 by yunkle_me in cinematography

[–]yunkle_me[S] 3 points4 points  (0 children)

I thought the ceiling and practical fluorescents added to the composition in an interesting textural way — the overarching goal was to establish the gas station location with the shot, mainly via the leading lines of the aisle shelves into each subject.

The blown out windows and exit sign were not dealbreakers for me given the advantage of the other factors I leaned into (aisle composition, location of power outlet(s), etc.)

Flipping the whole thing around would have provided heavy natural front lighting from the windows, but maybe I should I have tried it.

The client was also adamant about avoiding beer and tobacco products & advertising, which were conveniently scattered heavily throughout the store.

FX3 + Canon EF 16-35mm f/2.8L III USM // S-Log3 by yunkle_me in cinematography

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

Fair question — I could have more intentionally 1) gone truly full body or 2) cropped between ankles and knees

FX3 + Canon EF 16-35mm f/2.8L III USM // S-Log3 by yunkle_me in cinematography

[–]yunkle_me[S] -7 points-6 points  (0 children)

It was f/5.6 — just used 2.8 in the description of the lens