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Nezih

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Everything posted by Nezih

  1. Do check requirements of any festivals you plan to submit to, as well as DCP specs. Many may be fine with whatever format, but some may be fussy. You may find capturing in 16:9 (but framing for 2.35:1) and then editing for 2.35:1 a safer option, so, if necessary, you can re-edit for 16:9 later down the line if required (may involve re-doing some “pan and scan”, but with the vertical alignment). Unless of course you’re shooting anamorphic, then you can’t do this and will need to crop your master heavily to create a 16:9 version. Also consider that, if theatrical release is intended, it’s unlikely to be 16:9, but rather DCI 4K or DCI 2K (1.89). So, if you can shoot in one of those formats instead of UHD/HD, then do! The few pixels of extra width will help you anyway if you’re going for a wider look, and will mean slightly less cropping of the height is needed (you’ll need to work out the correct crop to cut a 2.35:1 portion out of 4096x2160 or 2048x1080). Agree that creative intent is a part of choosing what to do here.
  2. Good luck with your new venture... and ask away away (in the appropriate sub-forum)!
  3. Err? You don’t refill it on the move. It’s filled once, in the factory, and that’s it. And why would you put rocks in it? They’re stuffed with lightweight polystyrene pellets.
  4. In lieu of IBC conferences, Sony have a huge programme of webinars coming up. Some interesting topics! https://eu.info.pro.sony/Rewrite-2020-webinars.html
  5. It’s remarkable common that people in our line of work are dyslexic.... sometimes seriously so. This came up the other day on a professional WhatsApp group I’m in and several members put their hands up saying “me too”. We may be technicians... but we’re often creative technicians - and perhaps oddities like dyslexia add something to that creativity? Certainly often does in other creative arts. On the flip side, traits like OCD, mild autistic type behaviour, etc can often add to the technical side! We’re imperfect humans! Which leads me to a summary of what you guys are babbling on about. There’s a lot of cross-purpose talk going on, it seems to me. Draw a line: technician at one end, creative artist at the other end. Take every type of filmmaking, and every type of camera work. They will all fall somewhere in that scale. But they’re all different. Comparing as you are, you may as well be comparing a Sports OB operator with an Art House filmmaker, or a News Camera Operator with a TV drama DoP! Ultimately pointless: they’re too different.
  6. Same here. I'd say the majority of my jobs I turn up having never met any of the other crew or production team before.
  7. Who said anything about shiny and new? It can be battered and worn and old, but still be of the best quality. If I tradesperson turned up with a £30 consumer Black and Decker drill I wouldn't dismiss them completely if their reputation was good... but I'd definitely be surprised and a bit skeptical. But if they turned up with an old Makita or Milwaukee drill with paint all over it, I'd get a sensation that they were a "tried and true" experience worker. Obviously the reputation still matters, but the little things in visual perception matter too.
  8. That thread on their FB group seems to have gone now... 🤔
  9. Apparently that’s not the case. There is an active thread about it. The only person (apparently) who has been banned is the author of this article, but the article itself has been shared there, and it’s still there.
  10. On the Z Cam Facebook group (the one where Z Can staff take part often) the word is that this article is based on unsubstantiated rumours and just spreading disinformation. We shall see...
  11. Nezih

    Spin Cam

    Haha, that first one is amazing!
  12. Nezih

    Spin Cam

    An old video, but a good watch. That's some seriously tough camera work!
  13. An important thing to consider when buying (cheap in particular) lights is: how well will the match with other lights? A lamp may have a high CRI score, but that on its own is meaningless if it's native output (for example at 5600K, of that's what it's designed for) is significantly different to another brand's 5600K. This is of course only really a concern when one is mixing and matching gear. The difference may also be more noticeable in-camera than to the eye. May well not be a deal-breaker, but something to look out for. For me, build quality, warranty, ergonomics (well thought out design), and brand support are important factors. If I can afford it, I'd rather buy from a brand who I feel are going to care about me as a customer. I'd also prefer not to (though it's not always possible) buy from the "lowest common denominator" - especially if it's a Chinese (for example) company who is copying others' designs and not doing any real R&D themselves (I'm not implying Sokani is one of these - I haven't researched enough). Also, accessories are big element. Take Aputure, for example, they have, in my opinion, done an excellent job of building a strong accessory eco-system for their flagship lights... and they're all excellent quality. They also have good relationships with other top accessory companies. That, for me, is another thing worth buying into. Of course there are other small (or maybe significant) things to consider such as: how well is the accessory mount machined (is it clunky to get accessories in and out)? How strong are the screw-locks on the yoke tilt? How loud is the fan, if it has one )one review of the Sokani I quickly found suggests it's not very good)? How reliable are the electronics? Is it weather sealed (some are, some aren't... might not be important)? How well made is the case... will the zips bust after a few uses (common with cheaper stuff, I find)? I remember a few years ago when I thought of Aputure as "that cheap company copying others"... but now it's clear others are copying them! But then, Godox, for example, have been around since the early 90s. They're always random other brands popping up whose products looks 85% identical to the larger brands. Quite weird. Wild west out there in China.
  14. I'm weirdly excited about this even though (in terms of ownership) the Premistas are out of my budget. I'm just extremely attracted by them! haha
  15. Wow, big projects! Congratulations! D90 vs HVX200... quite a throwback!
  16. Good luck selling. That's a beefy case! I love the OD Green Storm cases - I have six of them myself!
  17. I can't comment on Edelkrone products, but I use a Cinevate Horizen slider: because it's the most compact slider that takes the full weight of my camera, and has a lower centre of gravity than another option (MYT Works) and is significantly cheaper than the other options (Matthews, Grip Factory Munich, and Ronford Baker). Question 2: all sorts! Locations, studios, interior, exterior. As for question 3: whatever the client asks for!
  18. Despite the 18-110 being quite irritating to work with, the image quality is good. It's bigger brother is supposed to be excellent on the FX9 with the new auto-focus.
  19. Well, it's only f4 whereas your Canon is probably f2.8 or even f1.8 right? Also, you Canon probably has a doubler built in, plus a macro diopter... right? The Canon will also be true parfocal, whereas the Sony 18-110 isn't, but uses micro auto-focus adjustments to correct this. Also, the Sony only has fly-by-wire focus, and the zoom is pretty slow (so you can't do snappy crash zooms). Also the Canon has a proper servo hand-grip, and will work with broadcast standard zoom and focus demands. Also consider whether the lenses are designed for single-chip CMOS or 3-chip CCD prisms. Though I think the z450 has some clever electronic correction for this. If you're doing the heavier ENG stuff (natural disasters, war-zones, etc, then IMO the z450 is definitely the better option (unless a much smaller camera is better suited): more robust and tailored for this style of work. The FS7 build up kit is, in my opinion (I've only played with it at a trade show) clunky and bulky. Just more moving parts, a more lumpy camera build. I occasionally do the odd day of work for one of the major UK news stations. Usually I use their Panasonics, but occasionally they book me with my own kit. I was taking my F5 with Fujinon XK6... it's my main and favourite setup, but it was just a bit much to carry around for ENG work. I recently bought myself a z280 (as they've been booking me with my own kit more recently), and it's (relatively) such a joy to carry something that compact around, whilst still well tailored to that style of work. I've only ever used the z450 once (just on sticks filming a West End musical), but it was a pleasure to use. Great image quality, I thought. If I was doing ENG work full time and I could choose my camera (and for the sake of this discussion, was sticking with Sony) I'd want either a z450 or z280 as my main camera, but if budget allowed I'd consider a A7SIII as a "side arm", There's also the new z750 just to over complicate things! 3-chip global shutter!
  20. I'm not so sure... if you look at BTS of the average big budget movie or TV drama there is generally plenty of lighting. This leads me to think it's just a creative trend. On lower budget stuff however, this may be the case.
  21. I’m not in the US, so can’t help, but I’ve heard https://staffmeup.com is good for some roles.
  22. Yeah, it’s just a trend, and honestly, one I’m getting a little bored of!
  23. FYI, I think there is a size limit in photo uploads, not in terms of dimensions and file size. Try to get it under 2000x2000pixels and under 2mb.
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