I thought the same thing.

There were times you could argue it served the story (to set the oppressive tone of the world/time) but even the things in the past that showed them in a happier time used the same style with no real visual separation.

The color didn't really take me out of the story as much as this new "only-let-motivated-natural-light-touch-the-subject-and-pretend-that-there-are-no-artificial-light-sources-in-the-room" thing that is all over a lot of new commercial work.

There were some times in the "present" that it worked really really well but other times (the diner when the FBI agent and boyfriend are having lunch w/ the mom for example) where it made no sense to me. It looked like the diner had a power outage and all of the characters were just choosing to ignore it.

Overall I liked the look of the series but the consistency of the look even throughout a number of different time periods and emotional settings wasn't resonating with me at times.

"Tiffen...no color cast"

I know absolutely nothing about their variable ND but that is ironic considering how notoriously green their 4x4's are

If you're just starting with lighting get some flags, cutters, and reflectors before ever getting a light

Really? Dynamic link more or less broke for me a year ago. Something about and update then just ruined working in dynamic link with media on a NAS

It's not that I don't want to hear it, it is just that it is horrible advice for beginners since Avid has historically done everything they possibly can to ensure their products are not used outside of the highest tiers of the industries they work in (and sometimes the higher tiers too, looking at u iLok) which stifles a lot of young careers and low overhead production houses

They have been making moves away from that but they're not quite there yet

I'm skeptical of how hard Sony pushes any substantial additions to the a7s line, they would probably just start calling it the a7sc200 and charging around 7k for it