Cole Webley

Nathan, It didn't load for me. -Cole

Marc, Couldn't get the website to load...Anyone else having problems? -Cole

Oli, That is what we originally going to do but we decided to try and do it all in camera -- the direct wants that raw look as it plays through the television -- he wants it to look (and I feel like this word is over used) "organic" I have attached the file again so you can open it and see what we are trying to accomplish. Thanks again, Cole Nevermind, I can't get the file to work. Sorry.

I am shooting a music video on 35mm with four or five television sets set close together with different videos playing on each television. The attached photo shows what we are going to do... My question is, how do we get all of the televisions to be in sync and not have any flicker problems. We will be shooting everything with the television sets at 24 FPS. Thanks for any help on this one.

great, thanks gentleman. -Cole

Just wondering, when you are shooting something on a television how do you expose for it? Two examples: 1.The television takes up the whole frame. 2.The television takes up only a part of the frame. How do you expose for example one and how do you expose for the ratio in example 2 with the normal ambient light compared to the exposure of the television. Thanks. Cole

I am looking for some feedback on the camera they used to shoot Miami Vice (the video segments). The new trailer came out yesterday and so much of it looks like video--a lot more so then the superman trailers. Does anyone know why this would be? Any thoughts? I would love to learn more about the HD cameras that are being used on these large budget films. Looks really nice -- very M. Mann'ish. The 35mm stuff really sticks out, looks like they may have even pushed it a stop (really grainy). Again, any thoughts? Take a look: http://www.apple.com/trailers/universal/miamivice/ cheers.

I shot my first 35mm project on a Mitchell Mark II -- it was of course MOS. It's nice because I could shoot up to 120 FPS ( just make sure you are at least 100-200 feet into the roll otherwise it could snap the film because of the weight of the load side of the mag--maybe that was just our camera, but that was the advice I got). I also could at a variable shutter angle -- some stuff was shot at 45 degrees. Yes, to big to go hand held - heavy, and built like a tank - sounds like a train. This is the 35mm camera that my film school owns. Here is a link to the spot I shot with the Mitchell Mark II w/ Angenioux Zoom and Canon Primes. www.j-four.com (the one shot on the Mitchell is the Adidas spot) Best of Luck! My next project I will most likely shoot on the Arri BL-4 (most affordable for our budget) If I could shoot on any camera it would most likely be: Arri 435 or Panavision Millenium XL -- both are fun cameras.

This is a Spike Lee trademark -- refer to many of his films including another shot like this with Denzel Washington in Malcom X Oops...didn't mean to beat a dead horse. I guess I should have read on -- this has been mentioned. Cheers.

I shot it all on the Arri SR II. We shot our interiors with 5218 and exteriors with 5217. I maintaned a T. 4 during the interiors and outside I was dealing with horses and actors who didn't know how to ride so we were shooting quickly and not a lot of time for set up (not to mention a huge aero crane shot) which lead to my T stop being anywhere from 5.6 to 11-16 split. We were fortunate to work on a sound stage -- which was wonderful. The 10ks set up one on each side of the tent gave me a general ambient fill of T. 2.0-2.8 I would suppliment this by bringing in a 2k and bouncing it off the tent wall or through some diffusion. The tent gave a warmer fill to any light passing through it. At first, I looked at putting 1/2 or 1/4 CTO on the lights coming from outside so that would correct for the "warm" feel of the tent, however, after a pre-rig I decided to keep them clean...this enabled me to have a slight seperation in color temp. with the backlight/rimlight that I would bring into the tent. I typically (if it calls for a backlight, etc.) like my backlight/rimlight to be slightly cooler -- which worked out because when the light wasn't punched through the tent it came off a bit cooler in relation to the other lighting. Prieto talks about how he had to put (I believe) Full CTO outside the tent in "Brokeback Mountain" to correct for the warmth the tent added to his lighting. I tried this as well but, again I didn't mind the difference in color temp and PLUS I only had limited lights and I needed all the stop I could get out of the 10ks. It was a lot of fun. I have more pics. with camera stuff if you want me to post I can. Hope this answers any questions. Cheers. Cole I forgot... I referenced scenes in "The Patriot" to look at lighting techniques. And I shot mostly on a zoom inside the tent -- a Canon 8-64 Zoom T 2.4 and some Zeiss primes outside. here is a picture of the same camera I was using on a different film. http://xbc.xanga.com/c33b910003d3052321049/b35109459.jpg someone on the crew posted some pictures.

I agree. The colorist should bring a lot to the process. I look forward to working with a colorist that brings collaboration into the process. In film school I always transfered on a DaVinci with a Shadow scanner -- the colorist was all right. If you want to see something that was transferred check out the URL below. I shot it in film school on 35mm and I told my colorist that I wanted a real flourescent look w/ lots of contrast. He did pretty good on this project. Best of luck. -Cole http://www.j-four.com/videos/adidas_web.mov

Last night I went to the opening of MI III. It was my one year anniversary and my wife and I couldn't decide what to see so we decided to play it safe with this one. I enjoy Mindel's work and I was excited to see how J.J. Abrams would handle his first feature. I was quite pleased -- easily the best of the three Mission Impossibles. Story was a little better and I liked how they added more relationship issues. P.S. Hoffman is great. One of the top five actors I would love to work with someday. Its always fun reading the ASC articles then watching it on the big screen and referencing those moments discussed in the article. The helicopter chase was shorter then I had imagened and it looked like they only lit some of the large windmeels. Mindel's work was consistent with the genre -- a step back from the stylized Domino -- but very good. Well done. I felt like the HD plates they shot in Shanghi cut together well, I couldn't distinguish any differences. I would give it a B+...or maybe a A- I had a good time and it was quite entertaining. I wasn't expecting much of deep emotional experience so I wasn't much dissapointed. Go see it and have a good time. Again, easily best of the three -- Good job Mindel and Abrams.

No, they were Arri 650w's with some 216 I believe. They were just giving us some nice highlights on different parts of the set and we would use them for a little rim light for close ups. Thanks. -Cole

Ok, that makes sense. We will be sure to go into Cinema Tools and rename those shots that were taken under the slate of one single shot-- Thanks for the help! -Cole

I have been having my editor read these posts and he is going to come to the one-light with me so we can talk with our colorist. Your right, since we aren't going to be able to deliver in HD then we shouldn't worry about going to HD--I am basically convinced to just do a tape to tape color correction on DigiBeta. I am a bit worried about the flex file complications b/c some of our shots on the street were improvised and not slated--nor tail slated...trouble right? I have been told that once your computer recognizes a shot for example 1A take 2 it will only allow you to use this shot once...even if we got three different other shots MOS at the end of the last slated take--in this example 1A take 2...Therefore, our program will not let us use this take more then once...right? At least this is what I have been told of late. -Cole

Someone just told me that when I am doing my online that the best quality is the D5 HD tapes and that HDCam tapes are not much better then DigiBeta--is this true?

We have already shot the film and it has been processed--recieved it yesterday. One-light is set up for tuesday. Actually I am neither the editor or the assistant editor. I am the DP but I feel responsible for overseeing this process both because of being the DP and because the others involved in the project aren't familiar at all with this process. The editor will be working in Final Cut Pro so we will be getting flex files. I am really nervous about going tape to tape because our colorist really isn't the best--really great guy--but I fear that we won't get the best one-light even...and if there isn't a price difference between going back to the neg. or tape to tape I am more apt to want to go back to the neg. assuming we can get through all of the technicalities. The rolls were labeled carefully as to their # and I looked at the flats that we got back and each one specifically notes which rolls were placed on which flat (which is normal obviously) and we will make sure each flat is labeled carefully. Thanks again!

skydivekansas, Thanks for the replay. Its like someone turned on the light for me. I do plan on supervising the initial transfer--we are not going to a print--It is designed to show in a Museum to accompany the work of the individual who was the subject of our documentary. So, we are most likely going to deliver the finished product on Beta or DigaBeta or perhaps just simply on a DVD. We are planning on cutting it in FCP but my colorist tells me that Avid is alot friendly for this process. I keep hearing mention of FLEX files for FCP and ALE files for Avid but these are foreign to me. Also, what I meant about 4,000 ft. was that we shot 10 rolls of 400ft loads--which would equate to a total of 4,000ft. In S16 do the flats always come in 1000ft rolls? I was under the impression that they came with 1200ft of processed film (3 rolls of 400ft). What would be your suggested workflow for these kind of circumstances? Thanks. -Cole

I'm worried a bit about the base color that we would get from just doing a tape to tape -- yes. Also, this is the first time for this whole process for me so I have some questions... What do you mean by flat? Do you just mean the individual role of processed film? Also, we are transferring only about 4,000 ft. so should we do it in 1 hour increments like I said before? Each roll having a seperate hour? Then, and I am sorry about this one, but can you define the difference between: Key Code specific to film, right? Time Code specific to time once it is digitized, right? and what you mean when you say create an EDL with Key Numbers and Roll Numbers (is that just the key code that corresponds with each shot?) Sorry for all of the questions. I am hoping to get a grasp on all this technical stuff. THANKS

Yes, it sounds like that is what we are going to need to do. I spoke with my colorist yesterday and he said basically the same thing. We need to sync our timecode and keycode with the hole punch in the beginning of each role. When we lay it off he will give each roll a seperate time code the first starting with 1 hour, the second role starting with 2 hours etc. Then we make our EDL and make an online with the burnt in time code and key code. With this DigiBeta online the colorist in L.A. will take our EDL with in and out points on the time code and find them on our negative and color correct them. Ok. I think I understand it. Thanks Adam.

I was just out in NY shooting a doc on Milton Glaser and we went to SVA to interview Steven Heller -- the head of the graphic design department. It seems SVA is a pretty great school, at least from what I could tell. Best of luck when you decide. I went to Brigham Young University -- low tuition/high value of education -- In fact, it was voted best education for the costs of tuition. I managed the equipment checkout facility which housed these items: These are the film cameras we have: 6 Bolex 5 Arri S 1 Eclair NPR 16 1 CP-16 1 Arri SRII S16 1 Aaton 54 S16 1 Mitchell Mark II 35mm Digital: 2 XL-1s 2 DVX-100s 2 HVX-200s w/ P2 cards, etc. and tons of grip/electric equipment including Kinos (4ft, 2ft, and 12'' kits) 1200w HMIs, 5600k 400w Joker kit, Mole-Richardson 2ks, etc--we had lots of fun with this stuff. Also, the LDS church has its own studio (in Provo where BYU is located) w/ transfer suite, effects house, two full size sound stages, etc. that we were able to tap into from time to time (my last project I shot on their sound stage and we used the Aero crane for a shot). BYU is also one of the 12 schools that Coca Cola invites to submit in the Refreshing Filmmakers Competition -- if that means anything. Those schools are: University of Southern California University of California at Los Angeles New York University Columbia University Northwestern University Florida State University North Carolina School of the Arts California State at Long Beach University of Colorado at Denver University of Texas at Austin Chapman University Brigham Young University Best of luck in your decision. Film school is what we make of it, right?

That was my problem too--so I decided to just do the math and adjust for shutter angle that way until I could afford one. The L-558 Dual Master is working great for me now-- I do agree with Adam, their size can be a pain sometimes.

Does anybody know?

I am doing a one-light next tuesday for a doc I shot in NY last week. I am in Utah and have limited colorists/telecine houses (2). We want to go out to Company Three later so now all we need is a one-light so we can digitize and cut the film and make our EDL. Later we want to take the EDL and go back to DigiBeta with the picture lock. With that edit we want to go Company Three and color correct the finished edit--but we want to do the final color correction from the negative. Was I clear? I want to understand this process better and I am confused as to all of the steps that need to happen to make this possible. I realize I need my one-light colorist to burn tape code and time code into my negative right? What else do we need to do? Thanks for the help gentleman.

I just got the Sekonic L-558R. Works great but wish I could have gotten the cine dual master -- the L-558R is a top light meter for still photography -- but I had to get one before a shoot and this is all B&H was carrying at the time. Oh, well...works great and better resale value.