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Daniel Madsen

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Everything posted by Daniel Madsen

  1. Use fluourescent tubes (color corrected) within in your scene- they have a very steril quality about them. Check out Matchstick Men for an example
  2. Same effect as gain option (electronic pushing) on some digital video cameras- trying to get more from less at the cost of image detail.
  3. It's not a bad idea to use a snoot either, which can be rented with a lighting package . You can also make one by extending the length of the barn doors a foot or two with cardboard and tapeing the edges together. This reduces the spill much more than barn doors and gives the light more shape and direction. You then put CTB over the opening. Operate the dimmer by hand otherwise the pulse will look too regular. Goodluck.
  4. If I was shooting a scene like this I'd find a motivated source- lets say a 2k through a window and a chinese lantern as ambience. I'd experiment with how that light interacts with his face and the set. Could the light reflect in the mirror or the character's razor...make the shower curtain glow? If these effects prove too over powering I'd up the ambience.
  5. "On Location....on Martha's Vineyard (the making of the movie jaws)" by Edith Blake. The teamsters drove I don't how many tractor trailer trucks from the Universal back lots to this small little town for production (3000miles)....once there they employed about half of the Vineyard's population.
  6. In cinematography time and space are manipulated to the facilitate the telling of a story, this can't be done with photography. There are also techniques and rules to manipulating time and space which is where continuity comes into play. A photographer might tell a great story using a picture but as a DP your working in another dimension.??.the fourth dimension ( :
  7. As much as I like dollies and steady cams I feel like student filmmakers put camera mobility to high on their priority list - making or renting expensive dollies before even considering lighting. Does anyone feel this way?
  8. With smaller productions the DP oftens plays the role of gaffer as well- making you more of a grip than anything else. On professional sets the DP and gaffer are both overseers, the gaffer being considered the DP's lieutenant of lighting/head of the electrical dept.
  9. I wish I remembered the title of this one book about color.... it was right up your alley. It provided very specific classifications for any three color combinations. Ex. gray with dark blue and black= modern. Purely subjective but interesting just the same...I'll try to find the title.
  10. moire...that is the term I was fishing for.... thanks
  11. You have all seen the results of shooting fine line detail (especially horizontal lines), like a striped shirt. The image is very distorted- zig zaggy. I know there is a special term for this type of distortion but I can't think of it. Any help??
  12. The Elements of Color by Johannes Itten. Also Blain Brown's books, "Cinematography" and "Motion Picture Lighting" both have sections on color theory in relation to filtration, film stock and color temperure. A physics book always does the trick too!!
  13. Stockings or nets would reduce contrast if you can't do that through the menu...would they be put behind the lens while working digitally, I do not know- a question for David. Reducing contrast and making your image look "creepy" may be achieved the best seperately. Have you considered white balancing on a red or orange surface. This would make the graveyard bluish- a suggestion of death perhaps. Electronic pushing??
  14. Great job...but...DO NOT SLOW DOWN Obnoxious advice coming from one of the PAs on the GM commercial you shot in Pasadena.
  15. sorry....should have specified. How about filtration...low con filters, color effect filters...etc.
  16. Do you agree that some effects, once done optically should now be done in the edit using computers? This can limit the mark left on a film by a cinematographer......what effects should be reserved for DPs and what responsibilities in the future do you see being passed from the cinematographer to the editor? 500 words or less, #2 pencil
  17. Daniel Madsen

    White balance

    What is the difference between white balancing on lets say a light blue AND adjusting the red and green guns to create a slightly orange image?
  18. The phase "point of view" is often used incorrectly. Try to explain the effect you are trying to create.
  19. You guys are talking about grain shape a lot- do you know a reference I could use to find the pros and cons of each type?
  20. Using the sun or another powerful souce to bring out the shadows cast on an interior by moving vehicals outside looks wonderful. The distance and spread of the light source causes the shadow to have a trailing effect. Creating a lot of movement in frame, it fits only certain circumstances. I am waiting to use this technique in a movie of my own... but next time your window shopping along a busy street look at the light play in the interiors. Oh I almost forgot....remove the lens off a big eye and have the grips suspend it from the ceiling. Afterward instruct the actor to place his/her face in the center.....just a magical helo effect. When I run out of adjectives I just call everything magical.
  21. Daniel Madsen

    35mm SLR

    Does any one have specific 35mm SLR picture taking exercizes that they do regularly to improve shooting film?
  22. There has been many threads discussing those topics...do a search...specifically a search regarding telecine.
  23. Why is diffusion often placed behind the lens and not infront? Is there a specific type of diffusion this is done with- what about about other effect filters?
  24. This question is an extension of sorts of "A Hypothetical Union Question", a post a few weeks back. From reading the post I gathered you need a certain amount of paid documented hours to join the union as either a AC or DP. As a film student can I get a jump on these hours by being paid a dollar for each student film I work on? This is a hypothetical question as well. Even if it was possible, I should probably get more experience before joining.
  25. What is most important in achieving a 35mm like depth of field with HD. Is it the CCD size, lens type or both?
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