IamOakley

Also, what's your source for getting all these vintage bodies?

Here's my theory. As a lifelong sci-fi addict, I will watch even the most cringe-worthy science fiction flicks. But this year, there have been so many good sci-fi titles that are just crazy cinematic, I [almost] can't watch them all. I recently had the pleasure of speaking to Salvatore Totino about DPing 65. (You can read the article on SonyCine here.) Totino is a wonderful human, and 65 is gorgeous, shot on Sony VENICE and Hawk V-lite anamorphics. Totino mentioned that once he decided on the Hawk anamorphics, he knew he had to shoot Sony VENICE. Because anamorphics are slower, and he didn't have a ton of lights in the middle of the 65 swamp, he NEEDED the Sony VENICE dual ISO. So I started wondering, because the sci-fi realm is often characterized by the aesthetic of anamorphic, is the increase in visual innovation in the genre linked in part to Sony's dual ISO letting DPs use anamorphics with less restrictions, lighting and otherwise? Here's three good examples: 65: DP Salvatore Totino, Sony VENICE + Hawk V-lite anamorphicsAndor: DP Adriano Goldman, Sony VENICE + Panavision anamorphicsThe Man Who Fell to Earth: DP Tommy Maddox-Upshaw, Sony VENICE + Panavision G Series anamorphicsAnyone have opinions on this? If anyone has any other sci-fi titles to add that I should look into, please share. I'm also dying to find someone who has shot a sci-fi, short or feature, on FX9, FX6, or FX3. If you know of anything, let me know!

Haha @LensMeAHand you are officially the grandmaster of the vintage Sony camera field test. (OK, not that 2016 is crazy vintage but still.)

Hey Nezih, glad you made it!

Somehow, it looks more vintage than 2008! And I have to say like the look way better than a lot of the mid 2000s cameras.

Handy! Would this also work for external NDs or just in-camera?

Nice work matching!

😂Please take BTS pics!

Sounds like a solid plan re: SLog3 and Canon Log 2. What lenses will you be using? It could be worth doing a lens test if ya have time to see if any have color shifts that will make it a PITA to match. @LensMeAHand did a lens test with photo lenses that you can see here, and the Canon photo lens has a noticeable blue shift.

Dang, I'm laughing thinking of what this camera->converters->wires-> laptop is going to look like on set. Really keen to see what the short film looks like with your 80s Sony-frankencam.

Hey Jason, going off what Doug said, @alisterchapman has a useful breakdown on syncing here. He's on these forums, so he may chime in himself! As he points out, and I'm sure you'd be doing, make sure you're using the frame rates on both cameras. 🤖

OK I now have only one episode left. It really is beautiful and the storytelling is incredibly well done. Thanks for the rec!

I'm working on a project that's intended to play on a very large (somewhere near 100 ft x 25 ft) curved cylindrical screen. Because of the size, the consensus is that 24FPS will look too juddery on such a big, immersive screen. Some of the team is keen on shooting and delivering in 60FPS. However, I'm worried about the consistent thing where audiences hate high frame rates because of the perceived 'soap opera' effect. I am currently suggesting 48FPS. Basically, I liked how Avatar: The Way of Water employed both 24FPS and 48FPS throughout the film. (And it helped with me a LOT with 3D motion sickness that I usually get.) Audiences don't seem to even notice as far as I can tell. My thinking is, maybe Avatar is setting the stage for more 48FPS content? Are any of your currently delivering in higher frame rates like 48, 60FPS? Or do you have a personal opinion on how it looks? Did you notice it in Avatar?

Curious, with four cameras (and four and EVFs) what's your strategy for focus?

Very excited to watch this.