Shot with the new Nisi Aureus T1.4 lenses on the Arri Alexa Mini LF and a few celeb shots from the Sony FX30 The goods: https://juiceboxstudio.store/ Open gate version: https://youtu.be/tCyogy9i8PA Team: https://www.instagram.com/wstrpp https://www.instagram.com/cartycaruso https://www.instagram.com/tim.caruso https://www.instagram.com/jasdoylemakeup https://www.instagram.com/cassandraiwa https://www.instagram.com/juliekisss ✌️

A look at the Zeiss Nano Prime lenses. Footage shown on the Sony FX3, and FX30. These are nice lenses, and they have lens data which can be seen on the monitor and in the metadata of the file which I love. Music by Audiio https://audiio.com/blaine - use code blaine70 for 70% off your first year of a pro plan, or use code blaine199 for a hot price on the lifetime plan. pro has AI tools, and SFX. Lifetime is music only. 😎 F1 - https://juiceboxstudio.store/ hi-rez - https://juiceboxstudio.store/blogs/hi-rez Discord - https://discord.gg/zQhDRfPCHT Simon - https://www.youtube.com/@UCvJtJkyANfETicgSZIeEKcw The lenses: B&H: Set: https://bhpho.to/41R5fXE Singles: https://bhpho.to/3XOWYSU Adorama: Set: https://adorama.rfvk.net/raDXWG Singles: https://adorama.rfvk.net/Dye3aq More to come!

a look at a nice studio lighting setup. great for commercial work. hard lighting, and soft lighting, at the same time. this video shows a variety of options once set up. check out https://audiio.com/blaine - use code blaine70 for 70% off your first year of a pro plan, or use code blaine199 for a hot price on the lifetime plan. pro has AI tools, and SFX. Lifetime is music only. 😎 Get F1 - https://juiceboxstudio.store/ 3D software overview: https://youtu.be/X7oSFkfhNIs 3D software 15% off code: WSTRPP via this link: https://www.elixxier.com/en/set-a-light-3d/#v2=63cff39376ec3 F1 overview: https://youtu.be/PdOPj9izU1A join the discord for a fun time - https://discord.gg/ZX6YMB49xf more to come.

get F1 - https://juiceboxstudio.store/ let the games begin... squad: https://www.instagram.com/wstrpp/ https://www.instagram.com/codylarosa/ https://www.instagram.com/tony_zawahri/ sound of the urus was captured with iphone voice memos. music from audiio.com/blaine - use code blaine70 for 70% off your first year 😎 #urus

A look at the Nisi Athena lenses. I like. Very nice look. Very nice price. Footage shot on Arri Alexa Mini LF and the full set of Nisi Athena lenses. If you have any questions on any non labeled shots and which lens was used, let me know. Some of this footage I just could not put text over. The good look: https://juiceboxstudio.store/ All music and SFX are from audiio - get 70% off your first year with code blaine70 here: audiio.com/blaine Join the discord for a gift: https://discord.gg/ZX6YMB49xf Lenses - Nisi site: https://nisiopticsusa.com B&H: https://bhpho.to/4audlcK Amazon: https://amzn.to/3E51fLd CVP: https://cvp.com/catalogue/search/nisi+athena Open gate version of this video: https://youtu.be/NCr0whq8sFY More to come 😎

Meru Anamorphic Lenses on Alexa LF 40mm T2.3 50mm T2.3 80mm T1.7 135mm T3.5 Arri Alexa Mini LF, OG, 2.39:1, scaled up 1.17x These are wild lenses, only 7 sets in the world. This set is at cinema-vision in NYC. Check them out here: https://www.instagram.com/cinemavision.nyc/ https://motionpicturerentals.com/ Also available in LA here: www.lensworksrentals.com F1 - https://juiceboxstudio.store https://www.instagram.com/wstrpp/ https://discord.gg/ZX6YMB49xf

F1 - https://juiceboxstudio.store/ A look at the Sony FE 200-600mm zoom lens in a few different scenarios, including on a sony FX3 with and without a 2x tele converter, and on a sony fx30 with and without the tele converter, as well as a sprinkle of clear image zoom. pretty cool lens when you need to get in close. i got the equipment from Cinema-Vision in NYC. check them out here: https://www.instagram.com/cinemavision.nyc/ https://motionpicturerentals.com/ also, if you are in the market for the lens, it is currently $100 off at B&H. the price is pretty good, i thought it would be way more expensive: lens: https://bhpho.to/4gmibLl extender: https://bhpho.to/3BrteDW my ig: https://www.instagram.com/wstrpp/ join the discord, its free - https://discord.gg/ZX6YMB49xf more to come :)

audiio - get 70% off your first year with code blaine70 here - https://audiio.com/blaine the grade: https://juiceboxstudio.store/ some fancy lenses on the bmpcc and the alexa LF. just testing and looking. some roof vibes 5 ish minutes in, davinci resolve overview, quick look at F1 film emulation on rec709 footage, and some other topics. arri ultra 16 lenses, canon 10.6 - 180mm zoom which is wild! also, check out https://www.greenwoodcine.com/ if you are in NYC. great spot, lot of exotic gear! join the discord, it's free: https://discord.gg/ZX6YMB49xf more to come...

get F1 and thank me later :) - https://juiceboxstudio.store/ https://youtu.be/ptyewwtjBpo?si=XL6TZZ3CC3KOhr07 Aputure MC Pros on sale at B&H right now. 8 light kit with charging case - https://bhpho.to/3ZhYLA0 single - https://bhpho.to/3VgBGw8 https://discord.gg/ZX6YMB49xf

https://juiceboxstudio.store/

https://juiceboxstudio.store/

ive been using the hollyland pyro 7 monitors and pyro s transmitters/receivers for a few months on the arri alexa, as well as a sony fx3 and fx30, and i must say i like them a lot. the connection is wildly reliable, even at long ranges. would definitely recommend them. let me know if you have any questions. also, celebrity guest appearance and drone opping from https://www.instagram.com/the_reporter_q2/ links: amazon - https://amzn.to/3xCVfGp B&H affiliate: pyro 7 single monitor - https://bhpho.to/4etxQXx pyro 7 2 monitor set - https://bhpho.to/4hH91do pyro S transmitter receiver set - https://bhpho.to/3AKQaNO pyro 7 monitor + TX/RX kit - https://bhpho.to/48JGksg more things to look at: F1 - https://juiceboxstudio.store/ music in this video was provided by audiio. get 70% off your first year with code blaine70 here - audiio.com/blaine more to come... :) 00:00 hi 00:08 hollyland wireless video intro 01:18 pricing 01:30 range test 1 03:25 bodega run 03:44 range test 2 05:58 menu 06:35 tools 07:05 LUTs (important!) 08:20 vertical anamorphic 09:00 frame lines 10:48 record the screen 11:32 focus pullers 12:14 luxury 12:49 a closer look 13:29 buying stuff 14:35 peace

check out F1 - https://juiceboxstudio.store/ atlas mercury lenses on the one and only sony fx30 camera. the mercuries are 1.5x squeeze anamorphic lenses, which pair nicely with 16x9 sensors like the fx30, fx3, and more. they also cover full frame (alexa mini LF). they look very nice and i love them. i also like the fx30. great price. If you’re in NYC and want to use these, let me know! I also have them on sharegrid: https://www.sharegrid.com/newyork/l/349547?type=rent&q=Atlas%20Lens%20Co.%20Mercury%20Series also.. you should join the discord. it's free and fun - https://discord.gg/ZX6YMB49xf

a little test with the sony fx30. it can be important to test your cameras. audiio - get 70% off your first year with code blaine70 here - https://audiio.com/blaine F1 - https://juiceboxstudio.store Join the discord if you dare: https://discord.gg/CxzTGqk

https://juiceboxstudio.store HMU: https://www.instagram.com/mkleinmanartistry/ Model: https://www.instagram.com/_briedee_/

Cooke 1.8x Anamorphic - Special Flare + Alexa Mini LF OG get F1! - https://juiceboxstudio.store F1 overview - https://youtu.be/PdOPj9izU1A?si=pN4GPhBI375pxZib music from https://audiio.com/blaine - use code Blaine70 for 70% off your first year. Unlimited music and SFX. $59. thank you to @camdengaultney + @suitcaseprods for having me! more to come...

speaking of perfection... https://juiceboxstudio.store this video explores that never ending chase for finding the cinematic light. taking the classic "lighting spaces, not faces" approach can help when capturing scenes in a narrative or commercial world, where you want to have an easier time creating a mood, or something more natural. F1 overview: https://youtu.be/PdOPj9izU1A?si=Pcupx7-5Kb6iSPQO Discord: https://discord.gg/ZX6YMB49xf

be good to yourself and get F1 - https://juiceboxstudio.store https://youtu.be/PdOPj9izU1A?si=o_3sN2O6VozSes4T Leitz Leica Summicron-C + Arri Alexa Mini LF

F1 is fun - https://juiceboxstudio.store music was from audiio. get 70% off your first year with code blaine70 here - audiio.com/blaine affiliate links for lenses: $20 Opteka 58MM 0.35x Fisheye Wide Angle Lens - https://amzn.to/3Xh18Dl $200 Opteka 67mm 0.3x HD Ultra Fisheye Lens Adapter - https://amzn.to/3z2iBWE B&H - https://bhpho.to/4cFsmrO

smart people get F1 - https://juiceboxstudio.store

It's good to be back! Lazy VFX in Davinci Resolve, Fusion, and Photoshop, with a sprinkle of theory that can help you begin to think about how simple VFX can be used to improve your cinematography. F1 Film Emulation - https://juiceboxstudio.store F1 overview - https://youtu.be/PdOPj9izU1A?si=vmiKrj28OHskY9md https://audiio.com/blaine - use code Blaine70 for 70% off your first year, of a pro plan or code Blaine199 to bring the lifetime plan down to $200 total cost! More to come…

Syrp Magic Carpet Pro Slider. Solid. Smooth. Great price. I have only had this for 2 days so I cannot speak to the long term durability, but it does feel very nice. very solid. light weight. infinitely extendable. could be a good option if you need a camera slider. F1 Film Emulation - https://juiceboxstudio.store F1 overview - https://youtu.be/PdOPj9izU1A?si=vmiKrj28OHskY9md https://audiio.com/blaine - use code Blaine70 for 70% off your first year. Slider - https://bhpho.to/3WfbGCe I’d recommend Matthews slider stands, or similar, with junior pins to 3/8-16 or to mount it on strong sticks with support on one or both ends. There are multiple end support options, and as mentioned.. apple boxes are often times a slider’s best friend! more to come...

https://juiceboxstudio.store Currently supported pipelines: DWG LogC S-Log3 RedWideGamutRGB/Log3G10 Canon Log 2 BMD Gen 5 Panasonic V-Log Fujifilm F-Log/F-Log2 Rec709

F1 Film Emulation is live! https://juiceboxstudio.store Overview: https://youtu.be/PdOPj9izU1A?si=1iNWtbiqg9bkXPLN A couple important color grading techniques.

https://juiceboxstudio.store

aputure 600d pro with different attachments, and a cameo from an aputure MC pro. beginning stages of creating artificial sunlight. camera exposure, light intensity, and light position remain untouched for the duration of this cinematic lighting masterclass. one single grade on the timeline level in davinci resolve. every clip has the exact same grade.

Testing a Panasonic Lumix GH7 and the Arri Alexa. Taking a close look at arri logc on the GH7, a first for any camera to have, and how it compares to an actual Arri Alexa. Footage was shot on the Arri Alexa mini LF, and the GH7 with DZO vespid lenses (vespid 40mm and vespid 21mm to get a similar HFOV). Let me know if you have any questions. Thank you @sloppysteaks / @impatrickt for joining. Check the video on Patrick's channel. The first of hopefully many collabs: https://youtu.be/BBXa1USsnxE?si=LO97AOaV3kBdx_oe Thank you Audiio! https://audiio.com/blaine - use code Blaine70 for 70% off your first year. Unlimited music and SFX. $59. F1 Film Emulation: https://juiceboxstudio.store GH7: https://bhpho.to/3Xh6u1F https://amzn.to/3xay71Z Discord: https://discord.gg/9CaVjwHZF7 more to come... 0:00 the hunt 3:08 special guest 3:48 the testing approach 4:53 GH7 vs Alexa Day Exterior 5:41 VLOG vs LogC 7:51 Arri vs GH7 highlights 10:24 GH7 logc skintones 13:00 Sony FX3 vs Alexa 14:47 m4/3 vs FF 16:26 buying a GH7? 17:29 GH7 footage 18:05 interview with the King of Toronto 21:02 peace out

Lomo lens test. Standard speeds. Shot on Arri Alexa Mini LF, open gate, arriraw, 1000 iso, 5600k. Rendered to 4448x3096 and uploaded to YouTube. The lenses have a beautiful look. very CINEMATIC. Lomo Lenses available to rent at Liminal Space https://liminalspaceproductions.com https://www.instagram.com/liminalspacecle/ https://audiio.com/blaine - use code Blaine70 for 70% off your first year. Unlimited music and SFX. $59. Discord: https://discord.gg/ZX6YMB49xf Lomo lenses used: 18mm T3.0 22mm T2.4 28mm T2.2 28mm T2.3 35mm T3.1 40mm T2.8 50mm T2.2 75mm T2.0 75mm T2.2 100mm T2.3 150mm T3.2

BLACKWING7 + mini LF Tribe7 Blackwing7 lenses T tuned No flare modification Bespoke housings Arri Alexa Mini LF, OG 2.39:1 Full OG, 709 only version: https://youtu.be/_Y4Ww8FF8c8 20.7mm, T1.9, CF 7.5" 55mm image circle, 3.6lb 27mm, T1.9, CF 13.5" 55mm image circle, 4.3lb 37mm, T1.9, CF 18.5" 60mm image circle, 4.1lb 57mm, T1.9, CF 18" 60mm image circle, 3.8lb 77mm, T1.9, CF 2' 2" 60mm image circle, 3.6lb 137mm, T1.9, CF 3' 1" 62mm image circle, 3.8lb 104mm front diameter across the range Thank you to Liminal Space for providing the space and equipment. https://liminalspaceproductions.com https://www.instagram.com/liminalspacecle/ https://audiio.com/blaine - use code Blaine70 for 70% off your first year. Unlimited music and SFX. $59. Discord: https://discord.gg/9CaVjwHZF7 - get in while you can! more to come...

Thank you Andrew + Liminal Space https://liminalspaceproductions.com https://www.instagram.com/liminalspacecle/ Tribe7 blackwing lens test: https://youtu.be/UJjQMuEye2M?si=NPY2C5OBiLHmxzvB https://audiio.com/blaine - use code Blaine70 for 70% off your first year. Unlimited music and SFX. $59. Discord: https://discord.gg/9CaVjwHZF7 - get in while you can!

F1 film emulation is live! - https://juiceboxstudio.store The BMPCC OG. A classic. A masterpiece of a camera. I love the simplistic approach Blackmagic takes to making their cameras, new and old. https://audiio.com/blaine - use code Blaine70 for 70% off your first year. Unlimited music and SFX. $59. Discord: https://discord.gg/9CaVjwHZF7 - get in while you can! more to come...

F1 film emulation - https://juiceboxstudio.store Atlas Mercury 1.5x anamorphic lens test. shot on Alexa mini LF OG. cropped to 2.39:1. no color grading. rec709. 36, 42, and 72mm lenses. Rent them here: https://www.sharegrid.com/newyork/l/349547-atlas-mercury-36mm-42mm-and-72mm-lens-set https://audiio.com/blaine - use code Blaine70 for 70% off your first year. Unlimited music and SFX. $59. Discord: https://discord.gg/9CaVjwHZF7 - get in while you can! disconapz: @disconapz

Laowa Nanomorph Anamorphic Zoom Lenses 1.5x anamorphic, 28-55mm, 50-100mm, T2.9, silver flare. Shot on an arri alexa mini in open gate. All footage was standard rec709, no color grading whatsoever. For some clips, only where mentioned in the video, I used the lens correction tool in davinci resolve to add more barrel distortion. I find this very useful to completing the look of some anamorphic lenses that exhibit pincushion distortion. Most zoom lenses, spherical and anamorphic zoom lenses will have slightly different distortion along the zoom range. This is something that I like to fix in post, sometimes in after effects, sometimes in resolve. I also hear fusion has a nice tool to do this as well. https://audiio.com/blaine - use code Blaine70 for 70% off your first year. Unlimited music and SFX. $59. As mentioned in the video… no brainer. Discord: https://discord.gg/9CaVjwHZF7 - get in while you can! 🫡

Magic mask in davinci resolve is getting better! While it does not work on every shot or scene, it can be used here and there to improve your looks when color grading. From changing colors of different elements independently, to adjusting the lens blur, it can help you out in your journey to achieve that cinematic look. Also.. I am being made aware of people color grading in premiere. While I love premiere, and edit everything in premiere, you should consider downloading davinci resolve. There is a free version. Let me know if you have any questions. F1 coming soon 😉. https://audiio.com/blaine - use code Blaine70 for 70% off your first year. Unlimited music and SFX. $59. As mentioned in the video… no brainer. Discord: https://discord.gg/9CaVjwHZF7 - get in while you can! More to come…

having intention behind your work in filmmaking, or in whatever industry you are in, is very useful. https://audiio.com/blaine - use code Blaine70 for big discount Discord: https://discord.gg/Cd2Fe52fHM (the discord channel is free and amazing... join it!)

shot on 35mm kodak film on the one and only arricam LT kodak vision3 500T kodak vision3 200T kodak vision3 250D kodak ektachrome arri master primes I shot one shot on an iPhone and one shot on the og BMPCC. I could have done a better job color grading this.. but I wanted to be done and upload. Behind the scenes of this video - https://youtu.be/IHS1acKVs5M?si=0TW8Qk3vaN2AcVQu Music provided by @helloaudiio https://audiio.com/blaine - use code Blaine70 for big discount. eq serviced and location provided by Arri Rental Starring - @kay.butler Arri - @luis_fels 1st AC - @arjunbajaj 2nd AC - @armageddonfather Steadicam - @lorenzino_zanini Gaffer - @nickbradyfilms Grip @rplinco Drone Pilot - @loganlambert Moral Support - @somersashley Leica Q2 operator - the_reporter_q2 Development - @Kodak @KodakShootFilm Lab and Scan - http://metpostny.com/ join the discord, it's free and fun - https://discord.gg/8247PxEpTk more to come... #kodak #film

some theories on exposing digital sensors, based on the age old thick negative. make sure you test on your camera before using these methods professionally, and let me know if you have any questions. The HDR wheels in davinci resolve help me to over expose in camera, to bring it down later in the color grade, and have a very clean image. it is not meant for every scenario, but helps out in a lot of scenarios. in this video I show the approach on the arri Alexa mini LF, but have done this on many other cameras with great results. again, make sure you test on your camera. https://audiio.com/blaine - use code Blaine70 for big discount Discord: https://discord.gg/Cd2Fe52fHM (the discord channel is free and amazing... join it!) more to come...

F1 film emulation is here! - https://juiceboxstudio.store Power windows in davinci resolve can help you achieve a higher end look during color grading. Join me on this magical power window journey to chase that cinematic look, and to spice up your footage in post. https://audiio.com/blaine - use code Blaine70 for big discount Discord: https://discord.gg/Cd2Fe52fHM (the discord channel is free and amazing... join it!) Footage shown shot on the arri alexa mini LF and contax zeiss lenses. More to come…

mirrors can be very helpful in the chase for that delicious cinematic light. whether they are actual mirrors, a reflector product like CRLS light bridge, liteflow, or even mirror boards off the truck.. they can help you achieve a very natural looking light. https://audiio.com/blaine - use code Blaine70 for big discount Set a light 3D 15% off use code: WSTRPP here: https://www.elixxier.com/en/set-a-light-3d/#v2=63cff39376ec3 overview here: https://youtu.be/X7oSFkfhNIs?si=2MYCFdipQUj61oRi footage shown shot on arri alexa mini LF with contax zeiss lenses. lighting used in the ad shown in this video: Aputure 600D Pro - https://bhpho.to/43EINBP Amaran 300c - https://bhpho.to/3PM2phq Amaran PT4c - https://bhpho.to/3U52sYw Aputure F10 Fesnel - https://bhpho.to/4aiK5oy Aputure Spotlight Mount - https://bhpho.to/3vApmNU Color checker video: https://youtu.be/bmL2kgljJzY?si=TC_O_Jtg-2MtCxon Color checker link: https://bhpho.to/3TUebsH Discord: https://discord.gg/jvFujJRBDH (the discord channel is free and amazing... join it!) affiliate links^ more to come...

F1 Film Emulation: https://juiceboxstudio.store This is how you get perfect exposure and colors out of your camera. The color checker is a great tool for getting accurate exposure and colors. In this video I show a few key tricks to make your life easy and your footage look good by utilizing the Calibrite ColorChecker Video and davinci resolve to help in getting proper exposure and colors when shooting video. Let me know if you have any questions. Footage shot on the arri Alexa mini LF and contax zeiss lenses. https://audiio.com/blaine - use code Blaine70 for big discount Color checker affiliate link: https://bhpho.to/3TUebsH Color checker amazon: https://amzn.to/44teDBF discord: https://discord.gg/yHk5FUXWeb more to come...

someone tell @ryan https://audiio.com/blaine - use code Blaine70 for big discount discord: https://discord.gg/yHk5FUXWeb lav mic is a zoom f2 - https://bhpho.to/3IW39wT boom mic is a sennheiser MKE 400 - https://bhpho.to/4aAt1de I used an additional zoom f2 to record the boom mic. 32 bit float. love it.

arri alexa mini LF contax zeiss 135mm 3.4K arriraw EI 250

F1 film emulation is here! - https://juiceboxstudio.store Quick look at color grading Kodak motion picture film in Davinci Resolve. We look at multiple Kodak Vision3 35mm film stocks, including 500T, 200T, 250D, and Ektachrome. 3 perf and 4 perf. It is pretty easy to get film to a great place in Davinci Resolve and I love it. It is easier than grading digital footage in my opinion, but even some of the techniques shown in this video can be applied to color grading digital footage in resolve. The film look, on film… easy. Footage shown was shot on the Arricam LT, with Arri Master Prime lenses. It was processed by Kodak and scanned by Metro Post in NYC. Scans are 6k cineon log prores 4444XQ. Juicy. The shot in the “woods” was on an LED volume. Let me know if you have any questions. More to come! https://audiio.com/blaine + 70% off first year discount code ‘blaine70’  This includes stems (yay!) and the magical Linkmatch AI which is an incredible tool when searching for music. Save time and money. You’re welcome 😎 Set a light 3D.. a true necessity - 15% off use code: WSTRPP here: https://www.elixxier.com/en/set-a-light-3d/#v2=63cff39376ec3 I made a video about it here: https://youtu.be/X7oSFkfhNIs?si=xygVYhjHqYCdynP6 Join my discord.. it is an amazing place and is free. Lot of smart people in here: https://discord.gg/SuCG26kP3y

35mm Kodak Ektachrome Film. Pure beauty. Arricam LT. Arri Master Prime lenses. I have a lot more to share about film and other things. Stay tuned and let me know if you have any questions! 70% off Audiio - use code Blaine70 here: https://audiio.com/blaine The pro subscription includes linkmatch AI and Stems Lifetime subscription to music and SFX $199 Join my discord: https://discord.gg/3kcz7EsKjn If you are interested in shooting stills with 35mm motion picture film, like kodak vision3 and ektachrome reach out to my friend and top tier 1st AC, Arjun - https://www.instagram.com/arjunbajaja/ BTS footage shot by: https://www.instagram.com/rplinco/ https://www.instagram.com/nickbradyfilms/ https://www.instagram.com/loganlambert/ Equipment serviced by, and footage shot at Arri Rental in NYC. More to come!

Studio lighting If you find yourself in the studio searching for that cinematic lighting.. some of the techniques in this video should be looked at. My approach for commercial lighting is ever evolving, but I will be sticking with this for a little while. I love it. I shot this setup on an arricam LT with multiple kodak film stocks. Can’t wait to share more! In this video I primarily analyze a shot from the arri alexa 35 and a 35mm master prime. I also dive into set a light 3d and how it helped me prepare for this project. Let me know if you have any questions! As mentioned, I have been exclusively using Audiio for all of my music and SFX needs and love it. Get 70% off a pro subscription (which has linkmatch AI) with code blaine70 here: https://audiio.com/blaine Set a light 3D 15% off use code: WSTRPP here: https://www.elixxier.com/en/set-a-light-3d/#v2=63cff39376ec3 (right now this software is also on sale, it is a true necessity) Set a light overview: https://youtu.be/X7oSFkfhNIs?si=A9_5tnZrbJkH3KcM Photometrics: https://youtu.be/JSXAiItoU-Y?si=PMdL6VeHqu1drGt- BTS from film shoot: https://youtu.be/IHS1acKVs5M?si=PnM8odjtH2G3W0A4 Join my discord, its fun: https://discord.gg/5HkF3wfvRy More to come!

Some behind the scenes of shooting on film in the studio. I used an Arricam LT 35mm camera (3-perf), master prime lenses, a variety of Kodak Vision3, and Kodak Ektachrome. We also used an Arri Alexa 35, and an Alexa Mini LF. Stay tuned for more. The epic music you heard in this video is from Audiio. Get 70% off with code blaine70 here: https://audiio.com/blaine BTS shot by: Ryan Lynch, https://www.storydeveloping.com/ Nick Brady Logan Lambert Follow the crew on ig: @luis_fels @arjunbajaj @armageddonfather @lorenzino_zanini @kay.butler @rplinco @loganlambert @nickbradyfilms @somersashley @arri_rental Join the discord: https://discord.gg/nQZkCkZFte

Blackmagic Design Cinema Camera 6K Full Frame L Mount Camera. I have always loved the simplicity of Blackmagic Design cameras. In this video I go over some features I like on the new BMCC full frame camera. In this video I used the Leica 35mm f/2 ASPH APO-Summicron-SL lens. It is very nice. The camera is great to use, and the footage is beautiful. It also behaves very well in davinci resolve, and is easy to color grade. This is a great camera for a variety of people, even those just starting out. You get a lot of camera, at a great price. Don't sleep on the eyepiece either! All of the music I use is from Audiio. Get 70% off your first year with the code Blaine70 at https://audiio.com/blainewestropp They have an AI link match where you can paste a link to any song and it will give you results from their library that match the feeling and tone of the song you gave it. I use this all the time and it is amazing :) camera: https://amzn.to/3vHP6rh Also, thank you Lensrentals (which I have been using for over 12 years!) for getting me the extra pieces I needed (memory card, ND filter, lens) in less than 24 hours! Lensrentals: https://shorturl.at/asOP7 the mic I use, which seems to just sound better the more I use it and is quite affordable: https://amzn.to/3vISeTW Discord: https://discord.gg/asjqjr9bza

F1 film emulation is here! - https://juiceboxstudio.store Kodak Vision3 200T 35mm Film Arricam LT Arri Master Prime 35mm T1.3 Check this out: https://youtu.be/Nlb1QZG7TJY?si=amQL9j7w5n4bdT9P All of the music I use is from Audiio. Their new AI link match is amazing. Get 70% off by using code blaine70 here: https://www.audiio.com/blainewestropp Serviced by https://www.greenwoodcine.com Processed and scanned by https://www.metpostny.com Discord: https://discord.gg/vqPSDQbe more to come...

Cinematic lighting is hard. Today I look at some lights that make it easier. The one and only @aputurelighting Aputure LS 600d Pro. Extremely versatile, and powerful. An integral piece of the studio lighting puzzle, and also has great abilities for daytime exteriors. A must have for photography or filmmaking. I also take a look at the Aputure MC pro kit, and an Amaran 300c with the Spotlight se 36 degree attachment. All 3 setups are great. Let me know if you have any questions. Aputure LS 600d Pro - https://amzn.to/3vjqCnV Aputure MC Pro 8 Light Kit - https://amzn.to/48H7w9M Amaran 300c - https://amzn.to/3voQwH8 Amaran Spotlight SE 36 Degree - https://amzn.to/48pthLt Check out all of Aputure's gear here: https://www.aputure.com All of the music I used is from Audiio. Their new link match AI is amazing. Get 70% off by using code blaine70 here: www.audiio.com/blainewestropp Join discord - https://discord.gg/mEp6eSaJK5 #aputure #lighting #600d

F1 Film Emulation is live! https://juiceboxstudio.store https://youtu.be/PdOPj9izU1A?si=3U7kiZp0PFA2pHZW Today we test film vs. digital in the first of multiple videos about different typed of film. Today we look at 35mm Kodak vision3 200T shot on an Arricam LT, 4-perf, and see how it compares to digital footage from the Arri Alexa mini LF. A lot of people chase the film look, one easy way to get it is to shoot on film. In each shot we had the same exact setup for each camera. We used an Arri 35mm Master Prime. On the Alexa mini we shot in arriraw. We also used frame lines on the Alexa to match the size of the film. We take a look at some quick grading in Davinci Resolve, utilizing the built in Kodak 2383 lut. The Kodak 200T film was processed and scanned to 6.5k prores 4444 XQ. It looks amazing. Also, color grading film in Davinci Resolve is amazing... If you want to learn more about how to shoot film, stay tuned. Check out Audiio for all of your music and SFX needs. I have been using only Audiio for the past 5 months and it is great. Linkmatch AI is great as well. I used it for this video. https://www.audiio.com/blaine - use code blaine70 for 70% off your first year… worth it. Rental serviced by Greenwood Cine in Brooklyn, NY - https://www.greenwoodcine.com Arjun - https://www.instagram.com/arjunbajaja/ Join the discord - https://discord.gg/zU5rnsGjHp More to come…

BE CAREFUL when modding lenses, and do not necessarily do what I did in this video :) Get F1 Film Emulation here - https://juiceboxstudio.store A quick look at the one and only Contax zeiss lenses. Here we have a Contax zeiss 28mm f2.8 MMJ, and a Contax zeiss 135mm 2.8 MMJ. Both were modded to have LPL mounts and all footage shown is from the Arri Alexa Mini LF. A beautiful pairing of lens and camera. Let me know if you have any questions. These lenses are great investments. When considering MMJ vs AEG, there are a couple factors to look at, like iris and price. LPL mounts are from Simmod. you can also have Duclos do the mod for you. I don't know the price. I think the contax zeiss lenses are among the strongest vintage lenses you can get (considering the price). Some of them are similar to the zeiss super speeds (35mm 1.4, 50mm, 1.4, etc.). I have been getting music for the past few months exclusively from Audiio. They have some new features, including AI tools that are very cool. They have multiple plans and I love them. check them out here: https://audiio.com/blainewestropp More to come... join the discord: https://discord.gg/sapv5aKSjN

A deeper look at what goes into that sweet sweet cinematic look. Considering photometrics is a great way to be prepared when approaching how to light in a scene. Here we look at Arri Photometrics, and the Illumination Handbook built into Sinus Link. We then look at how to use these apps to make calculations for other film lights that are not included in either app. Part 2 will dive a bit deeper into lighting large sets. We will also take a deeper look into the inverse square law and how to maintain consistent lighting in large spaces. Set a light 3D 15% off code: WSTRPP - https://www.elixxier.com/en/set-a-light-3d/#v2=63cff39376ec3 (right now this software is also on sale, it is a true necessity) Although there is no music in this video, I have been using Audiio for the past few months and I love it. Use code Blaine70 for a nice discount: https://audiio.com/blainewestropp join the discord: https://discord.gg/Tm6AjeUyWc

This is my 100th video. My first video on this channel, 4 years ago, was shot on the original version of this camera. This is the new one. Maybe you can guess what it is. Mixed with music from Audiio: https://audiio.com/blainewestropp

One of a million ways to light a night interior. Chasing that cinematic look isn’t always easy, but when you are in a situation without a lot of lighting equipment, you can sell the look if you work within your contraints. Then, when you have the proper resources you can greatly improve upon that look. I have been using audiio for the past few months, with great success, for all music and SFX in my videos. this video is not sponsored by audiio but I have a cool project coming up with them. Check them out here: https://audiio.com/blainewestropp  Amazon light: https://amzn.to/47uFjTb The mystery light used was the Zhiyun Fiveray M20C and here is a link for that. It’s great! I think this is an affiliate link but not positive lol. https://store.zhiyun-tech.com/?ref=wstrpp M20C Amazon link: https://amzn.to/40JksJk Also, join my discord, its great: https://discord.gg/adWMVRK9mz Lastly, I graded this to make it look better on YouTube. The look I really want is darker and has less contrast, but very dark images without a lot of contrast do not look so good on YouTube. There was also a lot of noise reduction added in davinci resolve to help with the YT compression, which creates some visible artifacts. But all of this is outside of the overall quick look at trying to get some dark cinematic lighting.

F1 film emulation - https://juiceboxstudio.store This is a video about how to use false color on your camera to nail your exposure. A lot of people I notice get a little hung up on exposure, but just remember, if you use your exposure tools and keep the scene within the dynamic range of your sensor, don’t clip the highlights, and make a generally good looking image on the monitor you should be good! False color is a great way to never clip highlights, retain information in the shadows, and keep exposure consistent over the course of a shoot when moving from scene to scene. Lastly, keep in mind exposure tools work differently on different cameras. Here we saw how it works on an Arri Alexa, exposure tools works a little differently on a sony fx3 for example, but the theory stays the same, and you can tune it to your liking in camera or on a monitor. Same goes for zebras, waveforms, and EL zone. Run tests, set it up properly and you will have an easier time with your camera. Discord: https://discord.gg/KD9TGygvJG 0:00 intro 1:25 log vs rec709 monitoring 2:10 exposure consistency 3:00 log monitoring false color 3:47 why is false color useful 4:56 zebras vs false color 6:11 over exposing 6:50 exposure compensation LUTs 7:45 SmallHD false color 8:22 tuning false color smallhd 9:36 adding LUTs to smallHD monitor 10:02 fixing smallHD false color 10:48 custom map false color smallhd 11:51 bye bye!

This is a boring lens test that I did for myself but I figured I would share it here. Quick look at the Moviecam large format lenses by Arri Rental. A few shots compare them to the DNA LF lenses and Arri Signature Primes. They have a cool look. From Arri's site, they sit somewhere between the Canon K-35 and DNA LF vintage lens. Shot on the arri alexa mini LF in open gate and arriraw. the first shots were framed for 2.39:1. we can see full open gate for the second set of shots. exposure was adjusted in Davinci resolve to match the shots. let me know if you have any questions.

For some reason I found myself capturing this shoe in my bathroom today. Using 2 tube lights, some dental floss, and past experiences from shooting products in studios, I saw some good potential. I then moved on to the living room, during the day, and found that the look wasn’t really there, but could be fixed up nicely in post. I used davinci resolve for the color grade where I went for more of a film look, with film emulation, grain, a little bit of halation, etc. dirtied it up a bit. I used after effects for the background removal, and wire removal. Lastly I went into a larger room, and blocked out all of the light and landed on the final look. Getting a nice cinematic look with products can be tricky, but with some finesse you can land on a nice look, even in your bathroom. A lot of the magic happens in post production. This is an at home test. For a real shoot I would light the background with 2 brighter lights, some HMIs, 10ks if we were shooting tungsten, or some sky panels or some aputure 1200ds. Anything big and bright. I would then use strip banks on the shoe, with a couple other lights to create some pings of light on the shoe. Having v flats and floppies is also important. Music from Audiio, check them out they have a lot of cool new features: http://audiio.com/blainewestropp My original plan was to show the post production process but this video took too long, so I gave up and shipped it. Let me know if you have any questions and join the discord: https://discord.gg/eTVkgyawxW Footage shot on the Arri Alexa mini LF and a couple anamorphic lenses.

this is the first YouTube video I cut fully in resolve... I see a lot of pincushion distortion and inaccurate aspect ratios with footage shot on anamorphic lenses these days. if you do the things I mention in this video you may notice an improvement to elusive cinematic look we all chase. also, wise to put the proper frame line on your camera monitor. hit me up with any questions and join the discord: https://discord.gg/yfEhQbuR5r also rotating anamorphic lenses sideways on the camera is kind of cool. try it! footage in this video was shot on the arri alexa mini LF in open gate, with the great joy 50mm 1.8x anamorphic lens. edited and color graded in davinci resolve

testing with my friend Anastasia https://www.instagram.com/anastasiasouris/ This was shot on the arri alexa mini LF with DZOfilm vespid prime lenses. For lighting I used a couple quasar Q30 tubes, and an aputure 300d with various modifiers. I also used an easy rig for some of the shots. Color Graded in Davinci Resolve. Let me know if you have any questions.

F1 Film Emulation - https://juiceboxstudio.store a quick look at working with and fixing highlights in davinci resolve. if you dont clip your highlights, but they look blown out in rec709, you can deal with them in a few ways in resolve, this video touches on HDR wheels, highlight wheel, curves, primary highlights, and lift gamma gain. all of these tools work a little differently. as mentioned in the video, the final looks that we landed on are not necessarily the final look I would ship, but more so just a look at each tool and how the footage response to it. footage shot on the arri Alexa mini LF and moviecam lenses from Arri. join the discord: https://discord.gg/88tRfEwAdY

this drastically sped my my editing time in premiere pro for longer form, documentary style work. using transcriptions in premiere is something I did not think I would ever do, but alas, here I am blazing through a lot of footage in a new way. love it. I know davinci resolve also does transcriptions, you can probably do something similar there. maybe I will look into it, but for now I prefer to edit in premiere, and grade in resolve.

shot with the Insta360 Go 3

diving into ISO differences on the arri alexa mini LF which is technically an exposure index. Every camera is different so do your own tests, and remember, none of this will make or break an image. You can get a cinematic look without worrying about any of this. this is just a deeper look at the technical. as you change the iso or EI on an arri alexa, you can redistribute the dynamic range. some other cameras behave like this, and some do not. a sony FX3 for example also has an exposure index, or EI when shooting in cineEI mode. this will adjust what you see on the monitor and not the recorded image. this is just a different way to expose an image and not a bad thing. the EI on the sony cine cameras, like the sony FX3 behaves like stop reduction LUTs explained here in this video. hit me up with questions! more to come!

well my video editing workflow just improved. quickly remove areas of silence, and close the gaps in premiere, while retaining original source footage and audio files. this speeds up the workflow for interviews, YouTube video edits, and podcasts. I love it. the extension can be found here: https://aescripts.com/silence-remover/ This workflow allows you to have multiple cameras and audio tracks, still send the project to davinci resolve for color grading, and an OMF to sound mix, where other solutions are kind of working on only single clips. While I don't think I would call this AI editing, I imagine the future of AI editing will get interesting. Also thank you to https://www.instagram.com/haugdal/ for helping me when I was stuck on this. join the discord: https://discord.gg/Xm3a44rRve

Get F1 - https://juiceboxstudio.store/ ETTR or exposing to the right is widely used in photography and is an exposure technique to capture a lot of light in order to get a very clean image. Simply put, it is overexposing. Exposing for video is typically slightly different and I find that exposing to the right in video production is not as widely talked about, or done. Here we take a behind the scenes look at exposing video brighter than normal. With new features in Davinci Resolve, like the HDR wheels, it is now easier to accurately adjust the exposure of log images in post, thus overexposing for certain projects can yield extremely clean images. Different cameras treat ISO and EI differently, and while you can lower your ISO to get a cleaner image, you can also still ETTR at any ISO so that you can lower your exposure in post, and reduce noise even further. Just make sure you don't clip your sensor, and are using properly made LUTS. Let me know if you need them for your camera, I have them for all cameras. Also, on sony cameras, using cine EI, you can essentially do this without a lut, but be careful to not clip the log signal as the zebra values change as you change your EI and in my experience can sometimes not tell you when you are clipping the highlights. On the arri alexa mini LF, which was used here, the EI behaves differently and I prefer to stick between 640 and 1600. All of the footage was shot on the alexa mini LF at ISO 800. The behind the scenes shots of the monitor were shot on my trusty insta360 go 3. Lastly.. I rarely mind noise. noise is cinematic, but certain shots need to be very clean! Join the discord... only 5 spots this time: https://discord.gg/NmJQzrGDdp

a quick look at the one and only insta360 go 3. a tiny camera that is the only one of its kind (that I know of) that allows you to remove the camera portion from the screen, allowing you to capture footage in a new way, and not have to rely on using your phone as a monitor. love it. discord: https://discord.gg/kPPYdeqT3d

Congrats Clogan! Shot on Arri Alexa Mini LF Great Joy 50mm 1.8x Anamorphic Blazar Anamorphic Insta360 Go 3 Edited in Adobe Premiere Pro Color Graded in Davinci Resolve

The one and only Ikonokop Ikonoskop A-Cam Dii. A weird and beautifully cinematic camera that I have fallen in love with. Thank you to Alex and Pete at acamnyc.com for supplying the camera, and for answering all of my questions. If you are in NYC and want to use the camera, let them know. Also thank you to Austin for bringing up this camera late night in the discord a few days ago. I was previously unaware that this gem of a camera existed! sensor is super 16 size (ish) lenses used: Zeiss super speed 12mm Zeiss super speed 16mm Zeiss super speed 25mm Century 5.7mm 1.8 Join the discord: https://discord.gg/kPPYdeqT3d

Shot on Cooke S4 lenses and arri alexa Mini LF. Footage from a project I shot with Logan Lambert. https://www.instagram.com/loganlambert/

cinematic framing is hard. composition is hard. here are some techniques I use to help achieve the look I have in my head. one tool used here is the director's viewfinder app, cadrage. Let me know if you have any questions.

Get scatter here: https://videovillage.com/scatter/ F1 film emulation is here! - https://juiceboxstudio.store We no longer need to worry about lens filters because of the magic that is Scatter by Video Village. A truly amazing tool for Davinci Resolve, with unlimited tuning and customization. The diffusion filters, which are all fully tunable and have different strengths, currently included in Scatter are: Black Diffusion FX Black Frost Black Pro-Mist Classic Soft Fog Glimmer Glass Hollywood Black Magic LoCon Mitchell Diff Pearlescent Pro-Mist Radiant Soft Satin Scatter Smoque Soft FX Let me know if you have any questions. Discord: https://discord.gg/kPPYdeqT3d Simon: https://www.instagram.com/simonvadas/

or you could just get F1 film emulation.. https://juiceboxstudio.store A look at the financial aspects of investing in high end camera equipment. I discuss the buying process, how to make money with the equipment, and the high potential ROI. Specifically I discuss the arri alexa mini LF, a camera that I bought a few years ago and has been a great investment. let me know if you have any questions.

A quick look at the Zhong Yi Optics Mitakon Speedmaster T1 Cinema Lenses. These lenses are cool and surprised me. A cinematic look for an affordable price. Hit me up with any questions. Footage shot on the Red Komodo at a 2:1 (my new favorite) ratio. Thank you Logan Lambert for letting me use his komodo: https://www.instagram.com/loganlambert/

F1 film emulation - https://juiceboxstudio.store a couple different techniques and approaches to lighting night interiors for film. getting the cinematic look, and cinematic lighting are very subjective and tricky tasks. this video touches on a few techniques and practices that I have developed and learned over the years. as always, there are no right answers and this is a look at a few ways to approach the look we see in movies and films. there are more ways to do it, and even this is not a fully finished look. testing like this can allow you to better communicate to your gaffer what you are looking for, it can even reveal little tricks, just like the iPhone flashlight revealed to me in this video, and it can make you a better image maker overall. All footage had the same look (a look that I built over the years) applied in davinci resolve. Shots were not individually altered, same exact grade on every clip. equipment used: Arri Alexa mini LF Great Joy Blazar 50mm 1.8x anamorphic T2.9 lens 2 forza 500 daylight LED lights aputure light dome II with diffusion and grid 2 aputure B7 bulbs 1 aputure MC LED light unknown light that I will post the name of when it is in front of me next. Hit me up with any questions and join my discord: https://discord.gg/kPPYdeqT3d

F1 film emulation - https://juiceboxstudio.store some quick tests with the red komodo and the arri alexa mini LF. A few comparisons, and a few close looks at both cameras exposure tools, where they clip, and how they look together. i think that these two cameras may be my top 2 at the moment. let me know if you have any questions. this was a pretty quick test and look in davinci resolve. Thank you to my great friend Logan Lambert for providing me with the red komodo. Find him in instagram here: https://www.instagram.com/loganlambert/ join the discord! https://discord.gg/kPPYdeqT3d

A quick look at the full frame Cooke Panchro Classic lenses. I love them, and i want to buy them. I recently used these to shoot a film written and directed by Simon Vadas. It was an incredible experience and the footage looks amazing. Footage here shot on the arri alexa mini LF. Graded in davinci resolve. Each setup had the same grade for the whole setup, the grade was not changed at all from lens to lens. Simon: https://instagram.com/simonvadas?igshid=MzRlODBiNWFlZA== Discord: https://discord.gg/zEdmhaVX

lot of people talking about and thinking about cinematic lighting. in my years of doing this I have found that having some go to approaches can help tremendously when designing a lighting plan for a commercial, movie, short film, or whatever you want to make. movie lighting at a large scale is very precise, involves a lot of planning and people, and can be complex, or extremely simple. having a variety of starting points for different scenarios is important. tweak as needed, and be able to communicate what you want when working with a larger team at a higher level. or.. if you are just trying to get the best lighting for a YouTube video, zoom call, or anything else.. consider living by a few fundamentals. practicing helps. what I show in this video is very basic and not finished and pretty much would not hold up at a professional level, but it is a fundamental idea of how to begin thinking about dealing with lighting a scene for real. when I light myself talking for my YouTube videos, I keep it extremely simple and as fast as possible, but it does stick in my mind and inform me and give me more insight to what I would do for similar scenes at a higher level. a randomly placed tube light for a YouTube video may help you consider how to precisely place and modify it for a big movie. join my discord... its becoming quite a great place: https://discord.gg/kPPYdeqT3d

Using the new Davinci Resolve 18.5 update, and the improved magic mask. We are now more easily able to isolate a subject from the background, and remove the background without a green screen. We can also use the magic mask in Davinci Resolve to replace backgrounds in a variety of scenarios. Here, we create a 3d space in a very easy to use software and composite it into our real life footage all in resolve. Combining this with the depth map and relight features in Davinci Resolve could really yield some nice results, especially as they are improving over the weeks and months. Wild time for all of us! The 3d software I am using to create our new environment is called set a light 3D. It's main purpose is to test lighting for photography and cinematography. I have been using it for many years and it is a crucial tool for preparing for a shoot. Here, while not its main purpose, we use it to create new backgrounds to place in our footage. This is not sponsored by set a light 3d. I reached out to them and they gave me a discount code for the software. They did not pay me. Use code wstrpp for 15% off - https://www.elixxier.com/en/set-a-light-3d/#v2=63cff39376ec3 set a light 3d overview: https://youtu.be/X7oSFkfhNIs Davinci Resolve relight and depth map: https://youtu.be/rwgC5Svdt-w generative fill for video: https://youtu.be/RsiPgbh6KEc

AI generated text to video with Runway ML Gen 2. The tools that we have to create are rapidly improving. Things are about to get truly wild.

An aperture comparison looking at f2.8, f4.0, and f5.6. The lens I used in this video uses T stops, but for these purposes they are the same as f stops. A lens performs technically better when stopped down. This is apparent when using large sensors, but also with S35 lenses on S35 sensors. discord: https://discord.gg/kPPYdeqT3d

Adobe audio enhance - https://podcast.adobe.com/enhance enhance speech with adobe AI. I find that this works best when you mix both the original and the enhanced track together. there are also audio enhancement tools within Davinci Resolve that work similarly. I have been using adobe AI to enhance my YouTube video sound for the past few videos. Like all of the new AI tools I have posted about, I am excited for this to improve over time. Join my discord: https://discord.gg/kPPYdeqT3d

Canon C70 and Leica R Lenses. Canon Speedbooster was used. Footage was quickly graded in resolve, could have probably gotten a nicer grade but this is just a quick test. Discord: https://discord.gg/kPPYdeqT3d

join discord: https://discord.gg/kPPYdeqT3d I have been using the slypod pro for a variety of things, one of which is creating cinematic product videos with moving lights. It is an incredible tool, and affordable. I have no connection with the company, I just like the product. It can also handle a DJI rs2 or rs3 with a sony FX3 but be careful! Let me know if you have any questions. ✌️

F1 Film Emulation: https://juiceboxstudio.store Discord: https://discord.gg/kPPYdeqT3d Relight and depth map in Davinci Resolve. I imagine this will improve over time, but is currently pretty good when color grading certain scenarios. Subtle moves work well. Another crazy tool in a crazy world.

This is a comparison between different standard film and sensor sizes used today. With all of the press around Oppenheimer directed by Christopher Nolan, I wanted to see just how large 65/70mm IMAX film looks compared to what I typically shoot on, super35 and large format. All shots were from the same lens (a very special lens that some of you may recognize). The camera position remained the same for each shot. And.. this was all shot digitally, and reframed and cropped for each film size with a 2:1 crop. The original clip was shot on an Arri Alexa mini LF in open gate, and the film sizes that are larger than that were extended digitally. Lastly, I don't believe you can actually shoot on 70mm film. You can shoot on 65mm film that runs horizontally through the camera, and it is printed on to 70mm film. This technique allows you to get a wider frame. I am not deeply versed in 65/70mm so if anyone knows, or Mr. Nolan if you see this, feel free to let me know and I will update this description. More to come.

Blazar / Great Joy 50mm T2.9 1.8x Anamorphic Lens. Shot on the one and only Arri Alexa Mini LF Open Gate and cropped to 2.39:1. Slightly scaled up. Slight pincushion distortion fix to go more towards barrel distortion.

Laowa Ranger 75-180mm Lens + Arri Alexa Mini LF @LaowaByVenusOptics

I have been using this software for years to develop lighting setups for commercial and narrative work and it has changed how I approach all projects. Truly incredible for building and testing cinematic lighting. Let me know if you have any questions! Set a light 3D 15% off code: WSTRPP - https://www.elixxier.com/en/set-a-light-3d/#v2=63cff39376ec3 Dehancer 10% off code: WSTRPP - https://www.dehancer.com/store/video/davinci_resolve 0:00 intro 0:26 navigation overview 5:14 lighting scene 1 (studio) 10:28 set build + lighting (kitchen) 16:16 crucial finishing touches

F1 film emulation - https://juiceboxstudio.store things are about to get crazy... Here we use Adobe photoshop generative fill to enhance and expand video footage. I imagine that Adobe firefly will continue to improve and this will be worked into premiere pro, after effects, and davinci resolve and other softwares will start to implement their own versions. AI is wild right now and will continue to improve and help us create things we aren’t even considering right now.

Cinematic lighting. Sometimes simple, sometimes complex. One key to creating cinematic lighting is to look at what the room is already doing, and motivate your light from there. Sometimes natural light looks good, and you can enhance it a little bit. The aputure 300d is a great, versatile, and affordable light. The aputure spotlight mount is also a must have!

Arri alexa mini LF + 80mm Zeiss Jena MC Biometar

laowa 12mm + arri alexa mini LF, open gate

had a wonderful experience utilizing 32 bit float on the zoom f2 field recorders. we were walking around NYC and just let them record all day long. no cutting, no battery changes, no worrying about levels. all of the audio sounds great. if you need timecode, the tentacle track e is the same idea, a lav mic, the records in 32-bit float, to itself, but the tentacle track e has timecode. for the zoom f2, you can format the card, and change the file names on their desktop app. the zoom f2 also has a bluetooth version. let me know if you have any questions. also, I should have had the lav mic a little lower so we couldn't see it, and so my beard hairs wouldn't touch it the few times that it did :/ instagram @wstrpp

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Footage seen in video shot on arri alexa mini lf and sony fx3 use code WSTRPP for 10% off dehancer

arriraw test. this is just one clip, adjusted multiple times in DaVinci resolve #arrialexa 0:00 full frame 0:42 200% crop 1:04 400% crop 1:27 800% crop 1:49 epic zoom out

Footage captured at the Four Seasons Bora Bora. Shot on Sony FX3 with the Sony g master 24-70 lens. film emulation and grade with dehancer, use code WSTRPP for 10% off. https://www.dehancer.com

The first in a multipart series about the one and only Arri Alexa, the go to choice for high end cinematography. In this series I will cover everything about the camera from setting it up properly, all of the settings/menus, the financial aspects of the camera, how to make money with it, how and where to buy, with cash, or utilize a loan to help you acquire a package, everything I have experienced with it over the past 2 years. An epic overview. Part one is a deep dive into the menu system and will provide you with everything you need to know to get the camera up and running and operational. You will be able to fully operate the camera and start shooting with it after watching this video. As always, hit me up with any questions and let me know if there is anything else you want to hear about in the upcoming videos over the next 2 weeks in this series. As mentioned in the video, we are specifically looking at the Alexa mini LF, but all of what is discussed and nearly all of the menu operations will transfer over to all other Alexas and at a minimum prepare you significantly to operate any one of the cameras. F1 film emulation is here! - https://juiceboxstudio.store #arrialexa 0:00 Intro 0:52 MVF-2 Overview 2:15 Framerate 2:39 Timecode 3:23 Shutter Angle 3:29 EI 3:35 ND 3:44 White Balance 4:28 Recording 7:16 Media 7:41 Monitoring 14:15 Look 15:36 System 19:21 Setup 20:31 User Buttons 22:42 Metadata 22:55 ECS 23:12 Info 25:07 Alerts 25:29 Playback 26:30 Lock Buttons 26:52 Function Button 27:47 Power On/Off 28:44 Wrapping Up

F1 film emulation is here! - https://juiceboxstudio.store Quick test looking at anamorphic and spherical lenses. We look at 50mm and 85mm anamorphic lenses, and 35mm, 50mm, and 85mm spherical lenses. These will all look different depending on the camera and sensor you are using. When using 16x9 sensors, sensor height is the most important (in my opinion), aspect to consider when desiring to use as much of the lens circle as possible. Even on a full frame 16x9 sensor, most s35 anamorphic lenses will cover the portion of the sensor needed to yield a 2.39:1 aspect ratio. Using cameras that have a 4:3 sensor seems desirable, but if that sensor has less height than a full frame 19x6 sensor, you are not doing yourself any favors outside of resolution. This all only really matters if you are trying to go wide. Anamorphic lenses are typically attributed with the “cinematic” look. There are a lot of new anamorphic lenses out there right now, from affordable to expensive. Some of the true gems are old and cannot even be purchased… panavision, arri rental. Hit me with any questions, more to come! Shot on Arri Alexa mini LF open gate laowa proteus 85mm 2x anamorphic lens great joy 50mm 1.8x anamorphic lens #anamorphic #cinelens #alexamini

see the 45mm here: https://youtu.be/l_2J-NTggOw Laowa Proteus 85mm 2x Anamorphic + Arri Alexa Mini LF. All shot at T2.0, EI 800. No grade, just Arri 709. #anamorphic #arrialexa #laowa

Crazy sunset in NYC. Shot at the north 5th street pier in Williamsburg Brooklyn, looking over to the Manhattan skyline. arri alexa mini LF with great joy 50mm 1.8x anamorphic lens.

Dehancer film look overview: https://youtu.be/SA_KQa-BVsc Laowa Proteus: https://youtu.be/l_2J-NTggOw Shot interior, day time. Overcast day, rainy. One light was used for all shots, the aputure 300d. The spotlight attachment with a 36 degree lens was used in all shots as well, and was responsible for 90% of the light we see in the footage. A little bit of light was coming in from outside, but not much. In most scenarios we used upstage lighting, direct and bounced. Shot on arri alexa mini LF 2.8k 1:1 with the laowa proteus 45mm 2x anamorphic lens. Video was framed for and exported to 2.39:1. Footage was graded in davinci resolve with dehancer, my new favorite tool. Use code WSTRPP for 10% off if interested in the plugin. Hit me with any questions! #cinematiclighting #filmlook #dehancer

The new Laowa Proteus 2x 45mm Arri Alexa Mini LF 2.8k 1:1 Arriraw Cropped to 2.39:1 This was shot with an early prototype version of the 45mm and the flare has been modified and improved in the final production version to avoid the vertical flare seen in this video.

Comparing 20 - 135mm. Shot on Alexa Mini LF OG 2.39:1

F1 film emulation is here! - https://juiceboxstudio.store Commercial lighting breakdown, in the studio some of my favorite techniques for cinematic studio lighting with a filmic look, as concisely as possible. a nice high end look with 2 lights and a v flat. aputure 300d mk ii with no modifier, and a quasar tube. simple, clean, and beautiful. check my previous video that goes into detail about the color grade that you see in this video: https://youtu.be/SA_KQa-BVsc footage was graded in davinci resolve with dehancer, use code WSTRPP and thank me later! footage was shot on Alexa mini LF with DZO vespid cine lenses. #cinematiclighting #filmlook #arrialexa #cinematography

This is a follow up to my previous video about creating a film look in davinci resolve for free check that one out here: https://youtu.be/L71ZwMne5S0 Alternative: https://juiceboxstudio.store/ Use code WSTRPP for 10% off when buying - https://www.dehancer.com today we dive into dehancer. a plugin for davinci resolve that helps to get that sweet sweet cinematic film look with digital footage. the newest version of dehancer is really great, especially with the print film emulation. i found stunning results that exceeded my expectations and will definitely be using dehancer moving forward for a variety of projects. i shot all footage seen in this video with the arri alexa. dehancer works on any camera. reach out with any questions. #filmlook #arrialexa #colorgrading #davinciresolve

a great starting point to give your footage a more filmic look in davinci resolve. transform to rec709, then to cineon log, then add one of the LUTs built into davinci resolve. this works for any camera, is completely free, and is a beautiful starting point to give your footage a better than straight out of camera look. In this example we used the Sony FX3, shooting in sgamut3.cine and slog3. #filmlook #sonyfx3 #davinciresolve

"stacked" = 1/2 + 1/4 + 1/8 + 1/8. tiffen black pro mist arri alexa mini LF Zeiss Jena MC 50mm 1.4 at 2.8 more tests here: https://www.youtube.com/blainewestropp1 #blackpromist #arrialexa #zeisslens

I am not a colorist. I am a DP, but started my career working at a color facility in NYC and learned a lot about resolve and color workflow. I believe that it is very important for DPs (and anyone working in video production) to utilize davinci resolve to review footage and build looks, even if you are not grading any projects. These techniques can be used in davinci resolve, and other software to color grade and match many different cameras in the same project. These techniques can also be used to build looks. Using a color chart can also help, but for these tests, I was surprised and pleased with the outcome. cameras used: Arri Alexa Mini LF Arri Alexa 35 Sony FX3 0:00 Intro 0:32 Matched Footage (quick look) 0:49 Grading Scene 1 3:40 Grading Scene 2 4:21 Grading Scene 3 5:58 Grading Scene 4 7:08 Recap 7:32 Haircut #colorgrading #davinciresolve

Get F1 Film emulation! - https://juiceboxstudio.store quick test with the arri alexa 35 and alexa mini LF as mentioned in the video, all settings remained the same from shot to shot. signature prime 47mm. arriraw. open gate on both the mini LF and alexa 35. both cameras create stunning images. the alexa 35 is a true advancement in tech. love it. Thank you Andrew at liminalspaceproductions.com for supplying the Alexa 35 and the space to do this test! 0:00 intro 1:05 footage 1:47 deeper look

Tokina Vista One + Arri Alexa Mini LF Tiffen Black Pro Mist 1/8 Arriraw Open Gate cropped to 2.39:1 18mm, 35mm, 50mm Camera was on an OConnor 2060HD on a Panther Vario Jib on a dolly. I hand operated the head. Lighting: 2x Aputure 600d Pro (CTO gel) Multiple Aputure MC lights Tungsten Bulbs #tokina #arrialexa #alexaminilf

Creating artificial sunlight with one main light, the @aputurelighting 300d II with the spotlight attachment. Extremely versatile, and great for bouncing to create a softer light, or pointing directly at the scene to create a harder light with hard shadows and a focused beam. Some of these techniques are the foundation or starting point to some truly cinematic lighting setups. I will dive deeper on all of this over the next coming weeks/months. I have used these techniques to light commercials and narrative work. All footage shot on the arri alexa mini LF in 4.5K LF 2.39:1, ProRes 422 HQ, ISO 800, graded and rendered in resolve to 4448x1856 and places in a 3840x2160 timeline in Premiere. Final file was rendered to ProRes 422HQ and uploaded to youtube. Lens used was the Zeiss Jena 50mm f1.4 at 1.4 BTS photos taken on sony FX3 with sigma art 24-70 lens 0:00 Natural window light 0:10 Bounced part 1 0:33 Direct 1:41 Bounced part 2 4:38 Getting Fancy #cinematic #arri

F1 film emulation - https://juiceboxstudio.store Exploring vintage lenses with the Sony FX3 Zeiss Jena MC Flektogon 20mm f2.8 Zeiss Jena Flektogon 35mm f2.8 These are the two lenses featured in this video with a focus on the newly acquired Zeiss 20mm f2.8. Sony FX3 Arri Alexa Mini LF Whenever I mention T stop, I mean F stop. When looking at different stops @ 3:48, exposure was matched in resolve to highlight lens performance with no exposure distractions. More to come... 0:00 intro 0:20 background info 0:47 Zeiss Jena Flektogon 20mm f2.8 1:30 thoughts on vintage quality and versatility 2:16 browsing eBay + costs 3:10 PL mount 3:48 matching 20 and 30 5:59 close focus 6:24 flare 7:32 foreshadowing #vintagelenses #sonyfx30

F1 film emulation is here! - https://juiceboxstudio.store Part 3 comparing the Sony FX3 to the Arri Alexa Mini LF. Both cameras were set to the same settings for each shot. A 35mm Zeiss Flektogon was used on both cameras. My 4th and final video about this topic will cover how to match the two cameras in davinci resolve, and will be posted within the next week or so. Technical: Arri Alexa Mini LF: Arriraw OG 4448x3096 FX3: 3840x2160 XAVC-I 4k 3840x2160 Both Cameras were framed for 2.39:1, rendered to ProRes 422 and uploaded to YouTube. Feel free to hit me up with any questions.. always testing. https://www.instagram.com/wstrpp/ Part 1: https://youtu.be/CJVWrxEaIj4 Part 2: https://youtu.be/GGm6bDRS6NQ 0:00 Intro 0:42 First Scene - CST 3:14 Skin Tone 4:12 Manufacturer's LUTs 5:04 My LUT 5:25 Highlights 8:22 Foreshadowing... #sonyfx3 #arrialexa

Lens: SMC Pentax 50mm f2 + Zeiss Flektogon 35mm f2.8 (0:19 - 0:39) Camera: Sony FX3 All shots are done in camera, no post FX. Lens was never mounted to camera.

F1 film emulation is here! - https://juiceboxstudio.store Thank you to Cleveland Camera Rental for arranging this test, and fitting all the pieces together. Sony FX3 + Angenieux 24-290mm Optimo Zoom T2.8. Interior shots were at T2.8, exterior at T4 with 3 stops of ND, and some shots were at 1/100th and 1/80th. Arri Cforce motor for accurate and precise speed zooms. more to come! http://clevelandcamerarental.com https://www.instagram.com/wstrpp/

Vintage vs Modern lenses. Test footage comparing a zeiss jena flektogon 35mm f2.8 to a modern sigma art 24-70 f2.8 on the sony FX3. For each scene, A and B have the same exact grade. Next up, cheap vs. expensive.

iPhone 14 Pro video quality compared to arri alexa mini lf and sony FX3. iPhone footage shows 4k, prores 1080, cinematic mode, and filmic pro. The iPhone 14 footage was matched (quickly) to the footage from the alexa and the fx3. The iPhone 14 Pro and 14 Pro Max have the same cameras. cinematic mode has gotten pretty good. in my initial review it seemed like prores 1080 was better than native camera ap 4k. filmic pro definitely yeilds nice results. more to come 0:00 intro 0:28 night interior 2:25 intermission 2:31 day exterior 3:27 slo mo 4:09 final thoughts

Venus Optics Laowa 12mm Zero D T2.9 wide angle lens + Sony FX3 This video was shot entirely at T2.9, slog3, sgamut3.cine, in the highest quality the Sony FX3 has to offer. A super wide combo that I enjoy a lot for certain scenarios. The Laowa 12mm on a full frame sensor like the FX3 is extremely wide, on the FX3 specifically it provides a 112 degree horizontal field of view. Footage graded in davinci resolve. The standard stabilization on the FX3 seemed to give me some weird results. They are more noticeable when looking at a long stationary hand held shot, but I did not notice this until seeing the footage on a big screen. As mentioned in the video I set the standard stabilization (which does not crop the sensor) to manual 12mm, but still getting some weird movement. The lens is the PL version and attached to the FX3 with a PL to E mount adapter from SLRmagic. more to come!

Sony FX3 + Great Joy 50mm 1.8x Anamorphic Lens The Sony FX3 continues to impress me as I get to know it. It is an incredible camera. To be able to bring it anywhere, walk around, and get cinematic footage is really fun. The sensor quality is great, the low light capabilities are amazing, and I am beginning to really like the looks that slog3 can provide. The great joy 50mm anamorphic lens paired well with the FX3. This video was shot at T2.9 and the sides were cropped to 2.39:1 with a final image that is 5162x2160 if stretched horizontally. The 50mm 1.8x lens has barrel distortion on the top and bottom and pincushion distortion on the sides. For this video I did not correct the sides, but the barrel distortion is more prevalent on a taller sensor like the Alexa mini LF. On the LF I correct the pincushion on the sides in adobe after effects. ITALY: Italy is my favorite place. I have been fortunate enough to explore a lot of it. For this trip we went to Venice, lake como, and Milan, all very cinematic and amazing places. Venice is, as mentioned in the video, like a dream. No cars, quiet, and a never ending maze (I can now get around without a map, which I’m proud of). Lake como is beautiful. I did not film in Milan, but it is a cool place. If you get the chance, go to Italy. Okay that’s all for now ✌️ 0:00 Intro 0:22 Venice 1:54 Lake Como 2:57 Bellagio 3:43 FX3 Low Light 3:58 Plot Twist

Sony FX3 and a Pinhole Lens. saw some images online about lens cap pinholes and decided to try my hand at at it with the sony FX3. initially used tinfoil and a small aperture but was getting blurry results. from my research, it will be fairly blurry unless extremely precise. so i decided to try pulling a lens off a fujifilm disposable camera, set the right distance to the sensor, and tested it out on the streets of New York. The setup shots were filmed on the Alexa mini LF and a zeiss 35mm flektogon at 1080p, EI 3200, and scaled up 200-400%. The Sony FX3 was set to the highest quality (forget the name of the xavc version that is the highest) and slog3 sgamut3.cine. All footage was transformed to rec709, with only exposure and color temperature adjustments in davinci resolve, no color grade. Typo 1:39 0:00 Build/Test 1:00 Early Morning Exterior 1:56 Night Interior 2:17 Day Exterior

Atlas Mercury 42mm T2.2 Anamorphic Lens + Alexa Mini LF Thank you @AtlasLensCo for letting me test this lens. This was shot in arriraw open gate on the arri alexa mini LF. T2.2, EI 800. 5600k, 0 tint, 40fps, ND 1.8, 90-180 degree shutter. The final output was not cropped. The 1.5x anamorphic stretch with this lens series yields a 2.15:1 ratio on the mini LF in open gate. 1.5x is great for achieving a variety of different aspect ratios, and not being locked into 2.39:1. The image is beautiful. Can't wait to see the rest of the Mercury lenses. 0:00 intro 0:30 arri709 0:45 LogC

Great Joy 50mm 1.8x Anamorphic Lens + Arri Alexa Mini LF Arri Alexa Mini LF, 4.5k OG. EI 1600. Footage was scaled up very slightly to remove the slight vignette. A few shos were corrected to remove the pincushion distortion on the sides. ig https://www.instagram.com/wstrpp/

Capture Cinematic Footage with The Slypod Pro. Sony FX3 + Moza Slypod Pro. All shots @ 24fps. Sony FX3 set to 4K Slog3 Sgamut3.cine. The slypod is the first device I have found in a while (for under $1000) that lets me, by myself, capture high end precise camera motion. I find myself calling it the b roll king. The Slypod Pro is under $600, and works very well with a mirrorless camera. I even added the DJI RS2 to the mix (as shown in this video) and it handled it, though I would suggest being very careful doing this, as it seems a little too heavy. Contact me with any questions. ig: @wstrpp 0:00 intro 0:38 BTS 0:58 versatility 1:15 slow movement 1:34 car interior 1:53 RS2 + Slypod 3:28 Slypod + iPhone

Back again with the Zeiss Flektogon 35mm f/2.8 and the Sony FX3. This lens was purchased for around $100. It has a PL mount, covers full frame, and has incredible close focus. In this video the FX3 was set to slog3 and sgamut3.cine. Some shots were at ISO 640, and the lower light shots were at ISO 12,800. The exterior car footage was shot at 120fps. Footage was graded in Davinci Resolve, and samples can be seen with the grade, rec709 (using a LUT I created for the Sony FX3), as well as untouched slog3. The Sony FX3 continues to impress me, and pairing it with weird old lenses can provide a nice cinematic look on such a modern sensor. Feel free to ask me for any questions, or any of the raw clips. Footage was rendered to 3840x2160 ProRes 422HQ and uploaded to youtube. SLRmagic PL to E adapter was used. Same lens on Alexa mini LF here: https://youtu.be/0G8ipuxOFlk 0:00 Day Int. ISO 640 0:47 Day Ext. 24fps ISO 640 0:58 Day Ext. 120 fps ISO 640 1:44 Night Int. 24fps ISO 12,800 3:21 Day 24fps ISO 640

Zeiss Flektogon 35mm f/2.8 lens test. Shot on the Arri Alexa Mini LF. I purchased this lens for about $100. It has a PL mount, covers full frame, has extremely close focus, and is very light and compact. The Carl Zeiss Flektogon was introduced in 1950, and the first version was the 35mm f/2.8. After that, other versions were introduced including the 25mm f/4, 35mm f/2.4, 20mm f/4, and the 20mm f/2.8. This test is during the day in my kitchen with no artificial lighting, and no house lights. Just natural daylight coming in through windows on both sides of the kitchen. All shots were at f/2.8 on the alexa mini LF which was shooting in 4.3k LF 16:9 HD, 75fps, EI (ISO) 1600. The 1920x1080 files were rendered to 3840x2160 ProRes 422HQ and uploaded to youtube. The "grade" version has grain added in davinci resolve. The Rec709 version has only the in camera Arri709 lut appled. The Log version is untouched. Lastly, this is an incredible, the best espresso martini recipe if you're into that. 00:00 intro 00:08 graded 00:32 rec709 00:57 log C

Arri Alexa Mini LF Open Gate 4448x3096. Aputure 300dii with fresnel at exterior location, flood. DZOFilm Vespid Primes. The Mini LF is incredible to work with. Exterior was overcast, we brought the sun aka one Aputure 300d mk II which was used to light the shots, and create a sunny look on an overcast day. Shot for @emilyroggenburk + @alexafayeallday

Crucial techniques to speed up post production workflow It is important to work fast on the computer. We do not want to be held back by certain tasks during the post production workflow, like trying to find a file, scrolling and clicking through folders, and not knowing where things are. I started my career in post production before transitioning to being a DP. I have picked up a lot of techniques over the years to eliminate as much as possible, meaningless time wasters, and have improved my workflow tremendously. This video will show a few crucial techniques to speed up working day to day, and to keep things organized. Hit me up with any questions! 0:00 Intro 0:11 Stacked Finder Windows 0:28 Folder Structure 1:20 Copy Folder as Pathname 1:47 Secret about Davinci Resolve 2:04 Command Shift G 3:03 Round Tripping 5:47 File Storage

Zhong Yi Optics Mitakon 50mm T1 Speedmaster Lens PL Mount Lens Arri Alexa Mini LF Open Gate Sony FX3 with SLR Magic PL to E Mount Adapter

Shot on Arri Alexa Mini LF, Open Gate. DZOFilm Vespid Lenses. Aputure 300d mk ii. Graded in Davinci Resolve.

Here we have the same scene, lit 20 different ways (quickly) with only one light. This was shot at night with no additional lighting outside of an Aputure 300d mk ii. You can see some good lighting techniques, and some bad. There are a few here that are the base for an interview, and there are a few that are the base for a more cinematic lighting setup. In most, additional lights and modifiers would help polish the look. This is simply a test to see the differences in a scene when placing an aputure 300d in different positions. Shot on alexa mini LF, open gate, cropped to 16x9, exported to 3840x2160 prores 422HQ and uploaded to youtube. 75mm lens. 0:00 20 lighting setups 0:55 same setups with diagrams More at https://www.instagram.com/wstrpp/

Laowa 12mm Zero D + Alexa Mini LF One of the widest full frame cinema combos you can get. Test footage with the Loawa 12mm T2.9. All shots were shot wide open at T2.9. This was the cine version, with PL mount. Shot on Arri Alexa Mini LF, 4.5K LF 2.39:1, utilizing the full width of the sensor. Shot in Arriraw, rendered out to ProRes 422HQ from resolve (source res 4448x1856) and uploaded to youtube. The Laowa 12mm covers full frame and performs well on the alexa mini LF in open gate as well. No stabilization, cropping, or any adjustments on any clips.

Sony FX3 Upgrade Setup Recently I had to shoot with the Sony FX3 for a job that needed to caputre some exteriors before the season changed. At this point I only had the camera, the included top handle, and a lens (media and batteries as well). From experimenting with this camera since its release I knew I needed to figure out some type of solution, accessories, and minimal rig that would allow me to do a few things. 1) Have a tight connection to the tripod, with more than one 1/4"-20 bolt. 2) Have a monitor that doesnt swing off (previously attached a smallhd cine7 via noga arm to the sony top handle which is not a prime scenario). 3) Keep the rig light weight and easy to move around. No wireless transmitter, no big batteries, just a stripped down camera with solid hardware. This is the final set of equipment that I went with that I truly believe is the absolute right answer when using a Sony FX3 as an easy to move around camera for shoots where you need to capture B roll, for shoots that need a B or C cam, or for shoots that you do not need to feed audio into the camera. 0:00 Intro 1:23 Sony Included Top Handle 2:01 Smallrig Full Cage and Top Handle 3:19 Smallrig Half Cage and Top Handle 5:43 Monitor Mount 6:41 Phone Mount 7:34 Monitor+ App 13:10 15mm rod mount 13:30 HDMI clamp and cable Links Sony FX3 accessories shown in video: (these are not affialiate links, and I have no relationship with any of the brands listed below Smallrig Half Cage - https://amzn.to/3pzcAd2 Smallrig Top Handle (I use this on the Alexa as well) - https://amzn.to/3EjIIVZ Monitor Mount - https://amzn.to/3EaVK8c Phone Mount - https://amzn.to/3b8mF8b HDMI Cable - https://amzn.to/3GoH736 Monitor+ App (iOS) - https://apple.co/3EeLKe9 Monitor+ App (Android) - https://bit.ly/3CjaIJ4

F1 film emulation - https://juiceboxstudio.store Another test comparing the Sony FX3 to the Arri Alexa Mini LF and a surprise appearance from the Canon C70, in far from optimal lighting conditions (shooting into windows with no interior lighting). All cameras were set to the same settings. Technical: All cameras were set to their native ISOs. In the interior shot of me in front of the wall, the alexa and the fx3 were both set to ISO 800. Arri Alexa Mini LF: Arriraw OG 4448x3096 FX3: 3840x2160 XAVC-I 4k 3840x2160 Canon C70: Highest bitrate UHD The alexa mini had a dzofilm vespid 50mm at 2.8 The sony fx3 had a sigma 24-70 at 2.8 The canon c70 had a canon 24-70 at 2.8, with a speedbooserb Both Cameras were framed for 2.39:1, rendered to 3840x2160 ProRes 422HQ and uploaded to YouTube. Feel free to hit me up with any questions.. always testing. Follow me on IG for more: https://www.instagram.com/wstrpp/ Ryan on IG: https://www.instagram.com/rplinco 0:00 Intro 1:00 Resolve 5:51 Footage Comparison

Shot on Alexa Mini LF, with DZOFilm Vespid Lenses and Vazen 85mm FF Anamorphic. Products shot with Red Scarlet-W, vespid lenses and Kessler Cinedrive. The Alexa Mini was not used for the product shots due to weight of the rig. Made for naelinaturals.com

Arri Alexa Mini LF Recording Formats and Resolutions. Testing recording formats on the mini lf sup7.0 I am only now realizing I used the same song as my previous video. Whoops!

F1 Film Emulation is live! https://juiceboxstudio.store Quick test comparing the Sony FX3 to the Arri Alexa Mini LF, in far from optimal lighting conditions (shooting into windows with no interior lighting). Instead of silhouetting myself in the frame, I wanted to expose myself as accurately as possible while ever so slightly clipping the highlights out the window in rec709, the log image was not clipped but was close. In part 3 (about 1 minute in), the highlights were brought back down in resolve. A very quick match and grade was applied. It is not easy to match the two cameras. Technical: Both cameras were set to ISO 640, 5600K, 0 tint, 1/125 shutter with a .3 Arri ND in front of the lens. Lens was a DZOFilm Vespid 35mm wide open at T2.1. Sony FX3 - XAVC S-I 4K (3840x2160), S-Log3, S-Gamut3.Cine Arri Alexa Mini LF - 3.8K 16x9 (3840x2160), ProRes 4444, LogC Both Cameras were framed for 2.39:1, rendered to 3840x1606 ProRes 422HQ and uploaded to YouTube. Follow me on IG for more: https://www.instagram.com/wstrpp/

Arri Alexa Mini LF Open Gate. Some shots were at 3.8k 16x9 2k 90fps. Fresnel at exterior location, flood. 500-800 EI. DZOFilm Vespid Primes. The Mini LF is incredible to work with. Exterior was overcast, we brought the sun in a Pelican. One Aputure 300d mk II was used to light the shots, and create a sunny look on an overcast day. Shot for calliespilates.com

Full Frame vs. Super 35 Sensor Test In this FF vs S35 crop sensor test, we quickly compare how a super35 apsc sensor stacks up against a full frame sensor. The same lens and settings were used on each camera. The super35 camera is a Red Scarlet-W at 5k ws. The full frame camera is an Arri Alexa Mini LF shooting at LF 4.5k open gate 2.39:1 A DZOFilm Vespid 25mm lens with a 1/4 Black Pro Mist was used on each camera. A tiffen variable ND filter was also used for speed. No internal ND was used on the Alexa Mini in order to have both cameras matched more closely. Camera position for each shot remained the same. FF Sensor Area Used: 36.70 x 15.31mm S35 Sensor Area Used: 25.60 x 10.80mm File was rendered out to ProRes 422HQ 3840x2160 and uploaded to youtube.

Tiffen Black Pro Mist Comparison Shot on Alexa Mini LF in Arriraw with DZOFilm Vespid Prime Lenses. 25mm, 50mm, 125mm, all at T2.1

Alexa Mini LF and dzofilm vespid 25mm lens shot at T2.1 open gate 2.39:1 at 60fps. ProRes 4444. 800 ISO, with internal ND. Look was applied globally in davinci resolve, clips were not graded individually. Ungraded Rec709: https://youtu.be/tdlrB4-hroc LogC: https://youtu.be/MRW__uakE1c Location: Edgewater Park in Cleveland, Ohio.

Sony FX3 Low Light High ISO for Video Test Footage in 4K Shot around 1AM outside in Brooklyn, looking over to Manhattan. Lower ISO shots also included for reference. Noise reduction applied on a few shots at the end, and noted in the video. S-Log3 S-Gamut3.cine with no color or exposure adjustments outside of a rec709 transform. Shot at 3200k, 25mm and 125mm between 2.1 and 2.8. Shutter was adjusted on high ISO shots to maintain exposure.

Just some quick test footage around the studio after a shoot. Handheld, no focus puller, natural light (apart from the obvious studio shots). Vazen 85mm 1.8x FF Anamorphic on the Alexa Mini LF, shot wide open, open gate, ProRes 4444, 24fps. Quick grade in Davinci Resolve, using a rec709 LUT I've been building for a few years (always tweaking), + a few exposure adjustments. Lens provided by https://www.clevelandcamerarental.com

Alexa Mini LF OG (cropped to 16x9) DZOFilm Vespid 25mm, 35mm, 50mm, 75mm, 100mm, and 125mm All clips shot at T2.1. Camera position remained unchanged. In the first couple shots, it looks darker in the top left corner, this is due to a screen being in that section of the window. All clips (from each camera position) were graded with the same exact look. In part 2, we will do a similar test but with a model in the studio.

Kodak Vision3 200T Test

4K vs 1080p HD . Each scene was shot once at 3840x2160, and again at 2048x1152 . 4K on the left, 2K on the right . 100%, 200%, 400%, and 800% cropping comparisons . ProRes 4444, T4, EI 1280. No Sharpening, or denoising . Output for YouTube: 3840x2160 40Mbps .MP4

00:00 Intro 0:12 - EI 800 1:44 - EI 3200 Alexa Mini LF OG 4448x3096 Arriraw. Rendered from davinci resolve with Arri Log C to Rec709 LUT only. No color grade or adjustments of any kind. Comparing EI 800 to EI 3200. Files were rendered out of resolve to a resolution of 3840x1600 (using resolve lite on MacBook pro), and then rendered out of Premiere to ProRes 422 HQ for YouTube upload. Lens - DZOFilm Pictor 20-55 (waiting for new lenses to arrive). This lens is a super35 lens and does not cover the mini LF full sensor. Footage was cropped.

00:00 Intro 0:08 - EI 800 2:10 - EI 3200 Alexa Mini LF OG 4448x3096 Arriraw. Rendered from davinci resolve with Arri Log C to Rec709 LUT only. No color grade or adjustments of any kind. Comparing EI 800 to EI 3200. Files were rendered out of resolve to a resolution of 3102x2160 (using resolve lite on MacBook pro), and then rendered out of Premiere to 4448x3096. Lens - DZOFilm Pictor 20-55 (waiting for new lenses to arrive). This lens is a super35 lens and does not cover the full sensor. We don't really see the vignette here because of the dark frame.

DZOFilm Pictor 20-55 Lens on Red Scarlet-W and Movi Pro

Smorgasburg Williamsburg NYC

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