Desainer grafis yang pernah mengerjakan tugas nirmana akan lebih punya kepekaan dan ketelitian terhadap proses berkarya daripada desainer otodidak yang langsung praktek mendesain.
Makin hari makin yakin kalau Jepang ini lokernya banyak, tapi SDM nya ga ngejar. Masa ada loker admin, dan bisa nerbangin kandidat dari Indonesia ke Jepang coba...
Syaratnya butuh 2 tahun pengalaman kerja, dan punya N2. Gaji di 3-4 juta yen per tahun.
@FerryLagi@ezash Masih lengkap gan, box ada, kabel bawaan gk pernah dipake, layar pake tempered dari awal beli, minus dikit bekas case aja di pingiran body, lokasi tangerang gan, kira2 range nambah berapa gan ?
hiii, kalo ada dari kalian/keluarga/kerabat nyari fisioterapi home visit daerah jakarta untuk kasus sakit pinggang, pengapuran, syaraf kejepit, cedera olahraga, atau bahkan cuma pegal otot aja, bisa hubungin aku ya ☺ kalo mau konsultasi dl tentang keluhannya jg bole yaa ehehe
I saw ALIEN: ROMULUS again last night and was able to notice the technical aspects of the film even more this time.
In particular, I loved how deep focus the cinematography was.
The majority of our recent blockbusters have all been captured with large format cameras, which tends to push DPs/Directors into using fast lenses with very shallow depth of field, resulting in very blurry backgrounds that focus mostly on actors’ faces.
• The Creator: Sony FX3
• Dune Part 2: Alexa Mini LF + Alexa 65
• Oppenheimer: IMAX 15/70
Romulus was shot on the Alexa 35, which is a new(ish) Super 35 digital camera from Arri. It’s a smaller sensor than the large format or full frame cameras mentioned above. A smaller sensor makes it easier to achieve less bokeh (blurry background) while letting in more light from your glass. With S35, you need to use faster lenses with longer focal lengths to achieve the same depth of field as full-frame.
Romulus is full of deep focus cinematography, which lets you really soak in the great production design.
The original Alien was also shot on Super 35, albeit on film and anamorphic, but similar apertures were used to let you see into the entire frame.
Shallow depth of field is great, and I think Dune, The Creator, and Oppenheimer use it well, but if you’re going to put this much care and attention to detail into such beautiful sets... you should get it on camera.
ini dulu yg rame
sinematografer muda ikut kerja tp nga diakui sm Cuaron. Waktu itu Galo nga bisa spill karena terkait kontrak. Akhirnya orang2 sendiri yg cari apakah si Cuaron ngeshoot sndiri atau Galo ini yg ngeshoot. Rang orang sampe nemu call sheetnya Roma buat ngebuktiin.