The Setlife Podcast

episode notesBounce lightSunlight through the windowProduct lightingCreating interesting walls

episode notesSupport black filmmakers and cinematographersRefer black cinematographers to producers and directorsHire black individuals for your crews

Blackmagic Design suggests user roll back cameras from 6.9.3 to 6.9.2URSA mini pro 4.6k, g2, and broadcast cameras

episode notesCarry only two lenses a wide and telephoto lens - too many lenses is a burdenKeep your kit lightweight - strip everything that isn't necessaryDo not bring a light - it will bring attention to youAlways be aware of your surroundingsBring more batteries and cards than you'll need

Our brain is the 1, and only, essential tool we have.After a certain level, producers are not hiring you for your gear, but for your mindset and abilities.Develop your mindset daily.Grit and determinationVisual inspirationEducationShooting

episode notesSharpness isn't truly a factor when it comes to shooting more resolution.More lifelike and accurate dimensionality to the image (smoother curves)We can actually see past 4kMore pixels mean more photo sites and that means more color information

episode notesThe Mixbook is a pocket LED light that can emulate any RGB Rosco gell.The Mixbook is priced at $94

episode notesSony A7Sii - $1,998Full frameE mountMicro HDMIBlackmagic Pocket 6K - $1,9956KUSB-C portDual native ISO 400 & 3200Includes Resolve licenseInternal compressed RAW & PR422 HQCanon EF mountPanasonic GH5 - $1,29720.3 MPInternal 400Mbps 4:2:2 recordingMicro 4/3 sensor and mount

Choose the location that can accommodate the shot or design the shot with the location in mind.Light for the area not the actors.Plan to do extra rehearsal and practice for the shot, especially if it is complex with a lot of choreography.It doesn't need to be complex to be dynamic.

Land confirms that Komodo will cost approximately $6,000, and for those who want to step outside the traditional black digs, custom hues are available for $7K.Tech Specs6K Super 35 27.03 x 14.25mm (6144 x 3240)Global Shutter Full-sensor up to 6K 40 fps6K WS at 50 fps4K at 60 fps120 fps at 2K12G-SDI output with 2160p at 60 fpsR3D files (REDCODE RAW)3.5mm microphone/headphoneNo XLR CFast cardsWireless video module Touchscreen Display Phase Detection AutofocusCanon RF mountSize: 4″ x 4″ (10.16 cm x 10.16 cm)Weight: 2lbs (900g) approx.

Allow more time in the scheduleAddress your setups and gear, is it possible?Be patientHave a game-plan

episode notesWalkies and/or EartecBring visual references to setGet to know how your crew members prefer to communicateDo your homework. Know the material you are to film intimately

episode notesContract/deal memo that takes the liability off of a productionThe production provides masks for all personalPlenty of hand sanitizer on setMasks on for all crew. Masks on for cast when not on cameraOnly touch what is in your departmentSanitation officerMedical personal with temperature equipmentBoxed lunchesPractice social distancingRate increaseExtended times fo almost all of the production.

episode notesEPIC's game engines are being used to create photorealistic, realtime, and dynamic digital productions and assets for film and TVExamples of virtual productions.The Jungle Book (Bill Pope ASC)The Lion King (Caleb Deschanel ASC)SOLO: A Star Wars Story (Greig Fraser ASC ACSThe Mandalorian (Baz Idoine and Graig Fraser ASC ACS)EPIC unveiled the new Unreal Engine 5 with some key features for cinematographers.Realtime dynamic bounce lightingPhotoreal objects, scans, and textures with hundreds of billions of polygons in realtimeVirtual cinematography for cinematographers.Complete control of lighting (time of day, quality of the light, dynamic reflections)Complete control of compositionChange locations almost instantlyPerfect for smaller crews and requirements for a contained set

episode notesTheir communication and leadership skillsThe consistency of their workThe speed of their workTheir dedication to the director, producer, and contentTheir personal aesthetic judgment

episode noteswhat's the difference and why would you use one over the other?Physical filtersCheaper and quicker than a fast computerSee the effect on set as you are filmingVery hard to take the effect out in postDiffusion consistency through the focal lengthsDigital diffusionSlower and more expensive to add.Easy to adjust the effectConsistency in the look

episode notesSmaller production teamsThe cost of shooting will go upChief of sanitation position on set

episode notesSuper 16, 35mm, and full-frame photographyAs the sensor gets larger so does your field of view.As the sensor gets larger so does the amount of background you see.As the sensor gets larger, the depth of field gets more shallow.

episode notesStock footage (artgrid, Shutterstock, iStockphoto)Create an online courseVisual assets for other filmmakers (LUTs, plug-in, frame overlays)

episode notesYou will be creating a 360-degree lighting setup. Ensuring the lighting does not get in the way of the actors and their performance.You will have a reactionary camera styleGenerally, you are shooting longer takes with fewer stops.Plan for all of the “what-ifs”

episode notesEven light over the entire screenDon't over light the screenAction that happens at a distance from the screenKnowing the background ahead of time (better match key, fill, and or backlight)Set your camera to low ISO settings (avoid noise for a better key)Using the highest available codec/bitrate/bit depth (higher the detail the better the key)

episode notesWindow lightFind the time of day that works best for your moodCreate blocking around the windowsUse blinds and curtains to control the light even furtherPracticalsCreate blocking around the practical that can't moveReposition practicals to best suit the moodReplace bulb wattage and/or add dimmers

episode notesSundance's Co//ab (Collab) is a site to share your work, connect with others, and learn from some of the best in the businessCreating branded content with Stacy fuller from refinery 29From short to feature from Jim CummingsDesigning and blocking a scene with Lesli Linka GlatterImmersive writing workshop - unlock your storyEpisodic writing with Glen Mazzara (The Walking Dead)https://collab.sundance.org/

episode notesDiscuss the workflow ahead of time with the producer, director, and editorSelecting the right codec type and your media storageUsing a show LUT for viewing with monitorsWill the shots cut nicely togetherIs the action covered enough

episode notesAre tungsten lights still relevant? In short… Yes!Full-spectrum light with no color peaking - looks great on skin tones.Cheap units - as the market floods with options, the tungsten lights get cheaperHarder light - single bulb and smaller units offer a harder light source

episode notesFind DIY diffusion at stores like Lowes, Home Depot, Bed Bath & Beyond, Michaels, and Jo-AnnePlastic shower curtainsMuslin and silk fabricWax paper5-in one reflectors

episode notesGet the camera right now for $1,995.00SpecsSuper 35 Sensor EF mountDual native ISORAW recording with compression optionsProRes recording up to 4k6K up to 50 fpsFull HDMI, mini XLR, USB-C, and 2-pin 12v power.Cfast 2.0, SD cards, or external storage via USB-CIncludes Resolve pro

episode notesExternal monitor/recorders - Atmos Ninja V & Ninja InfernoRecord in 10 bit from the camera.Camera cage - Tilta Ikan, Wooden camera, SmallRigMore mounting points for various other accessories (handles, hot shoe mounts, etc).Add rails.Wireless video transfer - Teradek ACE 500Share your image with the director or client.External Battery - V mount plate/battery with D-tapExtend the run time of your camera.Power accessories and camera with 1 battery.

episode notesCinematographer Style Volume 1 and 2 - Jon FauerInterviews with some of the best DPs like Roger Deakins, Bill Pope, Nancy Schreiber, John Seale, Haskell Wexler, Gordon Willis, and many more.The 5 Cs of Cinematography - Joseph V. MascelliCamera angle, continuity, cutting, close-up, and compositionCinematography: Theory and Practice - Blaine BrownMaster Shots - Christopher KenworthyGreat examples for setting up scenes with camera angles and blockingLighting for Cinematography - David LandauFilm Lighting: Talks with Hollywood's Cinematographers and Gaffers - Kris MalkiewiczInterviews with Janusz Kaminski, Matthew Libatique, Rodrigo Prieto, Harris Savides, and many more.

episode notesFree programs to get your feet wet.EditingResolveColor GradingResolve3D Animation / ModelingBlenderVFXHitFilm ExpressFusion in Resolve

episode notesKey FeaturesCanon Super 35mm Dual Gain Output (DGO) SensorDIGIC DV 7 Image ProcessorModular Design with Three Available Expansion UnitsCanon Log 2 and 3 Gamma SupportLM-V2 4.3" LCD Touch Screen Monitor4-channel Audio RecordingSupport for Custom User LUTsUser Interchangeable Lens Mounts (EF, EF-C, and PL)Anamorphic Lens Support (2.0 and 1.33)Canon Cinema RAW Light and XF-AVC RecordingFive-axis Electronic Image StabilizationDual Pixel CMOS AF with Touch AF and Face Detection120 fps @ 4KBody only is around $10,999Launching later 2020

episode notesState Unemployment and (PUA) Pandemic Unemployment AssistanceFreelancers Union relief fundup to $1,000#PayUpHollywoodLiz Alper alongside Jamarah Hayner and Deirdre Mangan.Up to $450 only in CaliforniaField of VisionDocumentary filmmakersUp to $2,000Applications May 6th - 8thIndustry ReliefMotion Picture and Television FundIASTE Emergency FundNetflix Emergency FundDGA Emergency FundArtist Relief with help from SundanceUp to $5,000Artist Relief FundingThe Opportunity AgendaThe Creator Fund

episode notesRED is offering free webinars on YouTube called the Solitary Series covering 8k workflow, resolution, proxy workflow, and behind the scenes with cinematographers.Eventbrite for future live streamsRED Solitary Series | REDCODE and 8K WorkflowRED Solitary Series | ResolutionRED Solitary Series | Proxy Workflow

episode notesARRI's Stella app is developed to control wireless DMX lighting in a graphical interface on most wifi-enabled devices.Stella 2 featuresControl lights from third-party manufacturers like Litegear, Astra, Kino Flo, and even generic dimmers for tungsten.Swapping out fixtures without re-doing your setup.Group fixtures and assign CCT to the group.Config default intensityAdditional fixture data

episode notesThe ARRI PL (positive lock) mount is the industry standard for cinema lenses and camera mounts but Why? It is due to the long flange distance that allows for a strong and durable connection between the sensor/film plane and the lens.With heavy lenses and the need to have a razor-sharp flange distance. the PL mount fits the bill.Specifications for the ARRI PLDiameter: 47mmFlange distance: 52mmVarieties of PLMaxi PL - Arriflex 765XPL - Alexa 65LPL - LF Mini, Alexa LFPL - 16mm and 35mm cameras and lenses

episode notesND filters reduce the amount of light hitting the sensor without having to affect the ISO or shutter speed.Filter Types4x4”, 4x5.65”, and 6x6”. They are used in a matte box.Round fronts with diameters between 27mm and 186mm. They use a tread that attaches directly to the lens.IR PollutionOlder filters did not have to deal with the sensitivity that comes with digital sensors and thus did not have to deal with IR pollution.With digital sensors today ND filters have to have some IR protection build into the filters. These are called IRNDs. Make sure, when shooting on digital cameras you are using IRND, or else, you could have muddy brown images.

episode notesMounting typesBall mount - 75mm, 100mm, and 150mmMitchell mountMax weightI add 50% of the total camera build weight to what I need from the fluid head. This ensures the fluid head will not be maxed out on productions.DragThis controls how sensitive the fluid head controls. The more steps the more control.CounterweightThis controls the camera balance at various degrees of tilt. The more steps the better the balance.O'Conner 2575 (The gold standard)

episode notesI had the opportunity to cover 3 nor'easters for the weather channel in 2018. Winter storm Riley, Skyler, and Toby.What I learned from my experiencesKnow your gear intimately.Be prepared for the absolute worst. Anything can happen.Dress accordingly (obvious)

episode notesThe Redback and the Mozzie from Hudson SpiderThe Redback - 37” parabolic light8' at iso 800 f/11.0~7 lbs2600k - 6500k6' softbox, 7' umbrella bounce, 50” octobox3 1/3 amps or 400w at 120 ok voltsThe Mozzie - 22” parabolic light8' at iso 800 f/5.6 7~3 lbs2600k - 6000k

episode notesGroup clipsWhite balance and exposure matchAdd look for the sceneAdd look for the film

episode notesAsset / ID tagshttps://www.myassettag.com/Google sheetsDetails include paid price, replacement value, date purchased, model number, serial number, quantity, asset tag numberPelican cases

episode notesContent is KingThe director is the bossYour crew is everythingDon't overwork pre-production

Never enough timeNever enough moneyCreating unique looks that also serve the storyNavigating the politics on set

Connect with industry friends[Netflix] and chillExercise the bodyExercise the mindWork on your portfolio presentationWork on that passion project you have in your head

When the City of Austin had to cancel this year's festival, hundreds of filmmakers lost the opportunity for their work to be seen. Together, Mailchimp and Oscilloscope Laboratories have created a digital home for this incredible slate of short films, so you can watch them from wherever you are.Visit https://mailchimp.com/presents/sxsw/ to check out the shorts.

Manage and lead the camera team(s)Collaborate with the cinematographer and director regarding the shot composition and movementLet the cinematographer be by the director to discuss the shotAllows the cinematographer to not be focused on operating

One is not worse than the other. They both have their own strengths and weaknesses.SteadicamOperates on gravity and very minimal electronicsNeeds human connection to operateCan only get so low without resettingGenerally less expensiveGimbalOperated on all electronicsCan we used entirely remotelyCompensates for the roll axisHybridAdding a gimbal on top of the Steadicam like in 1917

www.shotdeck.comUse it to search for references from your favorite films through tags.High quality stills from the films that are color and frame-accurate.Create your mood boards fast

Jobs being canceled.Productions coming to a haltFilm festivals and events - SXSW, NAB, Tribeca.Theaters across the world.

Matching the source kelvin to the white balance of the cameraMatching multiple light sources togetherPractical usesCreate a consistent light source over a productionSpend less time balancing the camera in the gradeTrusting a calibrated device over your eyes

Academy color encoding system - Used as an industry color science standard.Incorporating gamma and gamut standards.The workflow is based on IDTs (input device transfers) and ODTs (output device transfers)Practical UsesFuture-proofing content and color spaces.Creating a consistent look through the post pipelinehttps://acescentral.com/