Andy Sparaco: Director of photography and cinematographer in Chicago, Illinois.

Great job

Thank You

Alright. Alright. Alright. Impressive range of work!

Spend another $700 and grab a GH4 - best bang for buck. It really changes everything, mirrorless, 4K, small, inconspicuous and easy work flow - if you already have a MFT you can bank on those lenses as well - yes you will want to get better glass down the line, but wide angle lens who cares? For CU and MED work I use a Nokton 17.5mm 0.95 (35 EQ) yes it spreads a bit but the look is novel and never had a complaint except from that one guy with a huge nose....

I have a BMD Pocket - selling it for various reasons: it's difficult to focus is the number one issue - this is not a walk and talk, run & gun camera. Even if you do like it prepare to spend at least another $700 to be functional as far as production quality. That $1700 is better spent on a much more complete and diverse Lumix GH4. Plus your money is better spent on a GH4 simply because it is buying you into the 4K realm and even if you don't see yourself needing 4K who wouldn't love the ability to scope and reframe any shot into a 1080 format?

Alle, you stated, "Some places are already saying they won't accept your material if it's not in 8K from June 2014. " Which places said that to you? I'm very curious since I find it an odd deliverable requirement at this time. Was the specification only for deliverables or did it also pertain to image origination?

Not as high quality, but still good, the Rokinon are also Cine lens for DSLRs with EF mount.

The Carl Zeiss manual focus lenses are very good...http://www.zeiss.com/camera-lenses/en_de/camera_lenses/slr-lenses/distagont2821.html

Andrew S. has a good point about PL mounts and vignetting. Plus, when we aren't using the 5D, we're using a C300 or RED Epic with an EF mount. While PL glass is cool, there is plenty of high quality cine glass that utilizes EF. Regarding Rokinon, I'm on the fence. The cost is significantly lower, but the image at the center is typically softer than our existing glass. I need to keep a clean match. Anyone have good luck cutting between CP.2 and Canon L or CN-E series glass?

Some people are definitely impressed by professional-looking gear. Of all the things you could spend money on that has very little to do with how good your project looks or sounds, clients I work with are always impressed by my $80 dummy slate with colored sticks.

Yes cinematography and production value matters, but in the end story is king. Don't worry about the actress too much. Do the best with what u got.

If the lighting could speak it might have something to say about your extra. She had the choice of leaving if she expected lights costing tens of thousands of dollars... it is not as if there are no other extras in NYC.

Aftermath Trailer

If you are shooting with a mix of camera's use the 5D for wide shots-the extra resolution will pull out details in the wide shots. If you cut the 5D and APS-C cameras-7d/6oD/T3-4-5. The difference in sensor size will be obvious on screen. You may have to soften the 5d files in post to have them match. There are many advantages to Magic Lantern-Selecting CBR (constant bit rate) over VBR (variable bit rate). You can increase your data rate by a factor of 1.5 without much problem this helps the H264 files.- less aliasing and moriee. The zebra stripes and false color display for exposure and the focusing peaking-these features give the Canon DSLR cameras features you find on PRO camera's. If you shoot with two camera's you will make your editor a friend for life.

@Oriel - you are 100% correct. That's why outdoor multi-camera shoots are a big headache. In a studio setting, the cameras can be color-corrected (white and black balanced) so that the picture have the same colors, and "shaded" so that the light works best on whatever subject each camera is on.

@Oriel - That's another very valid point.

a painter tests his brush and colors on a separate piece of paper before using them on canvas...

Your card is going to be buried. Might have to change your settings in the CP to use RAM. 7200 is fine to stream video. You really should get another drive. Even a small 7200 for one direction and the other for the other direction read / write. 50.00 Newegg or pop for an SSD. I have 2 ssd's two hdd'ss 12gb ram and a quadro 4000 GPU with an i7 3750 Cpu and those files do drag a bit... Compared to others. Adobe forums will help you get your rig set up.

You are better off using Magic Lantern without using the Raw Hack. You can crank up the H264 data rate and use a constant bit-rate instead of the default variable bit-rate in the ML setting. Handling RAW files requires a workflow that is clumsy especially if you are handing off the data files after shooting. If this is a paying project you need to keep things simple and let your client see results as you go. Not so easy when shooting RAW.

At the moment I'm between projects. Just reaching out to folks. Been tapped on a couple of shows that are waiting for money, but nothing confirmed. Looking for challenging, break out projects where ever I may find them.

Cool. Good to meet you.

Thanks Andy!