[Richard Herd]

Sorry not to offer any real advice. I have a question though. Why are you purchasing a camera?

[Richard Herd]

also look up errors and omissions insurance

[Richard Herd]

Check out these google earth coordinates:
The Richmond district is very quiet, and it’s by the ocean and the values ain’t so bad. THere’s some nice and hidden locations reasonably accessible by public transportation, too.

Here’s the google earth coordinates:
Latitude: 37°45’39.00″N
Longitude: 122°30’33.04″W

The Sunset District and the Richmond District are very quiet.

[Richard Herd]

The answer is yes.
The question is: Who’s gonna pay for it? If a film print is a definite possibility, then consider shooting on film.

I personally don’t worry about a transfer to film because it’s just so unrealistic, from an exhibition and distribution point of view.

Having said that, it’s important that you use the camera to its fullest dynamic range, in every shot, so YOU have control over “the look.”

Somewhere below I posted how I achieved a very nice look with the HVX200, by being very careful with the f/stops.

[Richard Herd]

IMO, you should get the biggest baddest computer you can afford. Don’t mess around with it. Since you’re an actor, think of it this way: You can cut your own reels.

[Richard Herd]

If you poke around the Web site of Association of Independent Commercial Producers, you can find all kinds of interesting spreadsheets.
https://www.aicp.com/

[Richard Herd]

Here’s a thing to read carefully: https://magazine.creativecow.net/article/the-truth-about-2k-4k-the-future-of-pixels

Of course film itself isn’t actually 24fps, that’s sync sound–an application of shooting film. With video that’s unnecessary. For example, when storage space and shooting conditions allow for it, I prefer to shoot 720p/59.94 with sync audio.

Also check out the Camera Assessment Series from this month’s American Cinematographer magazine, and https://lurkertech.com/lg/

There’s a lot of details to wade through.

And now to answer your questions, based on my opinion.

If I shoot 24pn, is there a optimal shutter speed to mitigate the picture stutter? I think you’ve confused terms, here: “frame rate” with “shutter angle.” Multiply those to get your exposure. 1/24 fps * 180/360 (reduces to 1/2) shutter angle = 1/48 (1/24 * 1/2). You really want to get confused? Google: sampling frequency, discrete cosine transformations, signal. IMO, you should run tests all the way through post and sit down with a bag of popcorn and watch it. Then decide which looks better to you.

Or, is 30pn a better way to shoot it? Depends what you see when you screen it.

Having said that, let me say: Whatever you decide, stick with it the whole way through! The fancy gadgets we use can pretty much manage themselves, but mixing gets painful.

[Richard Herd]

a few differences jumping from stills to motion:

— latitude: assuming you’re using the Canon for video, you just don’t have as many f/stops to work with

— shutter: you’re stuck at 1/48 or 1/60

— color correction: a totally different beast than stills! I know it’s not a lighting tutorial, but this is worth knowing going in: https://library.creativecow.net/articles/maschwitz_stu/red-giant-blockbuster-film-look.php

After you wrap, you’ll go into post, which will present a few problems, so besides a gaffer, does your editor have a clear plan scheduled to?

The lighting kit you mention just isn’t enough. I would want one of those kits for each actor in the scene, not to mention needing something more for the set.

[Richard Herd]

Ever heard of light field photography? Here’s a cool link: https://graphics.stanford.edu/papers/lfcamera/

[Richard Herd]

Not sure I understand your questions. E/O itself, in principle, is not a scam, but a particular agency offering E/O could be.

True Story: Contracted designer made a logo for my brand. A well-known motorcycle brand sued. Huge money paid out. Now all designers for my brand are required to carry $3 Mil E/O policy.