Matt Workman

Hey, Pretty good article from HR about the 5 nominated DPs. Lensers take worldly view http://www.hollywoodreporter.com/hr/conten...cc8c92a2eaab93e AC might have a better article though, :unsure: Matt

Wow, Dedo HMIs and Tungstens are really expensive. Nice choices though. They aren't as power hungry and put out a lot of clean light. :blink:

2cents right here. I own a few 300w/650w tungsten lights and 2 HMI's. The Tungsten kit was for when I was shooting music videos for $500-$1500. So there was no budget for lights, so I bought them to make the videos better and to get more work because of that. They have paid for themselves in about 1 year. The HMI's I bought for a feature with the intension of selling them after. But I've been getting too many shorts/music videos who I bring along for like $100 a day. I can't shoot without them, and any production who can't afford them I have them if I need em. They will probably never pay themselves off but they do make some money. A 1200w HMI is the indie work horse. Its basically the most light you can get from one lamp without a generator. Depending on where you live you can usually find another "filmmaker" who own a tungsten kit. There are tons of Arri kits in people apartments in NY if you know the right people. I got HMI's becuase I can usually find someone who has an Arri kit if production can't afford one. I would also recommend 4' 4 bank kinos becuase they are very low wattage, very small, very cool, and you can swap 3200k and 5500k bulbs. Not sound advice for everyone but its how I've done things thus far. Cheers, Matt :ph34r:

I think that for anyone to move up you need to be ON SET as much as possible to see not only the lighting gripping, but the coverage, lens choice, interaction with director, actors, etc. In that case a smart script supervisor or AD could make the jump becuase they are there for every moment. Maybe that is a stretch. But even as a 2nd AC I am not on set for all of the shooting and neither are most of the grip/electrics when the camera rolls. Matt :ph34r:

Wow that is a pretty thorough list, you've been reading the ASC manual haven't you? Hah, jk. If you are using a color temperature meter and matching the color light with the appropriate stock you should theoretically have indistinguishable sources. However I think that humans are incredibly sensitive to light, and more so to differences, even if its subconsious people can tell subtle differences. Some DP's only shoot tungsten stock w/o filters and correct in post/lab. Some older DP's I've known dispise HMI's and only shoot filtered tungsten. Probably not all the time but when they feel its right for the look. Also shooting tungsten and correcting with an 85 introduces more glass and you obviously lose light. Adding filters changes the look more than just the color IMO, it diffuses and can really screw up lens hits. Perhaps on a bigger Panavision shoots things are different. In my experience HMI's can look a little cold, and their tendency to slip into green/blue spectrum is not flattering to caucasion complexions. But if you are being a diligent gaffer and labelling and correcting each HMI then you should be fine. I worked on a sound stage film where they used HMI for window light, even though they were inside and could have used larger tungsten lights. I think the fact the HMI's are much more effecient was the main reason, you can't have too many 10ks on in a small stage, that would be really freakn hot. In conclusion I would say that any of your methods would work. What screws things up is if your start mixing your methods. Picture the TV show Will and Grace, Seinfeld, Fresh Prince. Those are all 35mm studio shows where they use tungsten for daylight. As soon as they shoot a real exterior in real daylilght you can tell something is different. However episodes that are all studio you would never know that it wasn't real daylight. Well, normal people wouldn't know. Cheers, Matt B) EDIT: Actually I don't know if those shows are 35mm or not, but you get the point.

Wow the Ikea bounce trick, that is genious. Really that is priceless. If you can afford a $20 tunsten-to-daylight gel pack you will have an easier time. Daylight doesn't have one temperature so if you are matching window light you have to be consious of the time of day. The usual formula is tungsten (3200k) + FULL CTB = (5100-5400k) But a lot of cheaper tungsten lamps are much warmer so you need more CTB, like FULL and 1/4 or 1/2. http://www.bhphotovideo.com/bnh/controller...oughType=search If you can afford some kinos with daylight bulbs that is the hands down easiest way to go, without HMI's. IMO. And they are really cheap to rent. :ph34r: Matt

In my experience with 1200w HMI Fresnels they are really only useful on medium/close shots. On a wide where you need to put the light farther back to get an even exposure it does very little, in direct sunlight. On the wide you might be better off with a 12'x12' silk and reflectors if you can't afford a 12k or 18k. These are two MS/two shots with the HMI filling in. Though now that I think of it these are 575w, my 1200w was down that week.

In the description is says its meets the FAA requirements. http://www.bhphotovideo.com/bnh/controller...oughType=search Ehh. Matt

Pelican claims that the 1510 is the flight safe size. But things change everyday. Matt :unsure:

Do you have a key grip of gaffer? They should be able to help also. Cheers, Matt

Hi Graham, I just sold my DVX100a with a shotgun mic to a friend of mine in NYC. He isn't in school but is learning how to shoot music videos, EPK's etc. He is mainly going to SD DVD and web. The DVX100a with a good mic is a great package and many MTV quality docs have been shot with it and still are. It is true that any VIDEO camera will be obselete eventually but thats if you are at the forefront of technology. Panavision and Arri have come out with new HD cameras, but I'm not going to buy one. If you are planning on buying a camera and expect to get professional work with it you would need to spend upwards of $60,000. My advice is to buy a used DVX100a/b from dvxuser.com Most of those guys are legit and would be interested in meeting with another "filmmaker." You should be able to find one for $2k. If you do buy a camera anything less than a DVX100a is not worth it, IMO. 24P, CINE-GAMMA, XLR audio, cheap DV tapes, manual focus, WB, ZOOM, etc. HDV is a headache. DVX is comparable to 16mm handled correctly. I wouldn't worry about HD. Unless you are trying to trying to convince a client who really wants an HD master it doesn't make much difference. I'm talking about HVX/XLH1 HD not Varicam/CineAlta HD. If you can afford it having your own camera, it is 100% worth it. I owned a DVX100a throughout film school and it eleminated the hassle of renting from the school and allowed for spontaneous picksup, alwasy having a deck to edit with, and allowed for freelance work. Good luck with your future projects and film school. Matt

I am working with a certain lab in NYC right now who recommended this workflow: Super16 -> 2K Spirit -> DVCPROHD Harddrive and D5 Tape. EDIT -> EDL D5 Conform -> DaVinci -> DVCPRO HD and D5 Tape. They commented that there was little difference if I chose to do a 1 light or best light if we went into the DaVinci later. I am assuming because the spirit is high quality enough and that a D5 transfer stores enough data that a tape-to-tape from a 1 light isn't as bad a from a digiBeta. I am pushing for a best light from the Spirit incase we can't afford the colorist's rate. Any thoughts? Thanks, Matt

If you are in school learn everything you can. Camera, electric, acting, directing, etc. The more you know about the whole process and everyone's role the more educated your work can be. Also on indies where the departments aren't as strict having an AC with electric knowledge and VV are very helpful. Matt B)

The trailer looks really nice. I am also interested in your choice of Fuji over Kodak. That's great that Norm Li was the operator. I see him at DVXuser every once and a while. Why isn't he on here? It seems like there was a decent amount of handheld. How did you acheive the camera shake? Cheers, Matt

This is an interesting thread to me, I'm learning too. Lee is a UK company. I think they still make lights? But the rest of my lights are Arri, Kino, etc. The Lee's use standard double ended HMI globes. Osram or G/E. Your best bet when using generators is to have an operator. That is usually required by any rental company, escpecially with generators large enough to be towed. I know a rental house who has several professional movie generators and one of them caught on fire on a large shoot. No one was hurt BUT even a "Professional" generator under the close eye of an operator can be very dangerous. They need constant maintenance, like a car. Anything larger than a 5600w Honda you shouldn't even be touching unless you have been trained. Cheers, Matt PS: We can split the costs of this thread :ph34r:

I saw the film the other night without knowing who directed it or what it was about. I was especially impressed with the use of darkness, like Jason mentioned. Many of the scenes where the main character is lurking in the darkness he is just barely visible, even his eyes. I'm not sure how much was done in camera vs. DI but it worked quite well. I liked the lighting choices. The basement scene where he is learning about Perfume-making it is lit by "candle light." But Griebe doesn't go for the flickerboxes/dimmers. He matches the color temp. and keeps it clean. I think that it makes it feel a little modern, modern-candles? It's not the cave scene in LOTR. Also on several of the EXT NIGHT scenes the "moonlight" is white while the candlelight is only 1/4-1/2 CTO. I really like that, vs. the 1/2 CTB for moonlight and white for tungsten. I also liked the shots of the first encounter with the redhead. There were some interesting over the shoulder shots (POV?) of her walking. The red hair also reminds me of the Village. Cheers, Matt Also I like set photos so here you go.

If you are interested in a future safe system SATA is a great option. Studio Daily has a video tutorial on the differences between FW and SATA. http://www.studiodaily.com/main/training/7481.html If you setup a redundant RAID array that is a pretty safe way to go. Cheers, Matt

If your question is about prioritizing what you are learning, (i.e. film lighting, camera movement) then it is still worth learning. My school didn't have a film production or an electrician curriculum. BUT we had a very nice Theater and Production department. I worked as a theater electrican hanging source4's and that kind of work. I learned how to rip apart stage adapters and how to build rigs with cheesboroughs and the like. Its amazing how much cross over there is. IATSE was probably theater first. I agree with Mr. Mullen that you should take everything. Some semesters I overloaded by 2 or 3 classes just to fit them in. I didn't pass them all but I got what I wanted from them. Consider yourself lucky that you have that program. Cheers, Matt

Using HMIs with Electonic Ballasts you can use regular "non-sync" generators. The newer Arri ballasts have a flicker free mode which can cause an audible "humm." Even my old Lee HMI's work fine on Home Depot 5600w Honda's. Magnetic ballasts I hear that you need a clean source. I've never used them though. Cheers, Matt PS: I would really love to learn about generators/electricity in more depth. Bestboy time. :lol: JD where would you recommend researching. I've read the Set Lighting Technician manual several times.

The truss dolly reminds me of the CamTram dolly Abel sells. http://www.abelcine.com/store/product.php?...=327&page=1 Though its $3500. :unsure: Cheers, Matt

Thank you Frank. That is tremendously helpful. The fact that you need to voted in makes it seem unlikely that I'd be anywhere elligible to join anytime soon. I have only worked with one or two union electricians/gaffers. Also thanks for the tip on the G/E houses. I have never been present at a G/E checkout, I'm usually in the camera dept. Hopefully others have learned something also. Thanks again. Cheers, Matt

Congrats, that is quite an opportunity! Lighting, exposure, framing, aside the hardest part for me, on my first feature was the schedule. If you haven't worked many 6 day weeks, then you might be up for a surprise. I would expect the DP is really putting in 7 days a week, especially with a first time director. My advice is to be prepared in the common sense department also, which can be overlooked when you are working too hard on shooting. Drink a lot of coffee, eat well, sleep as much as the schedule will allow, bring the right clothes (it is really horrible being stuck outside without gloves), have dayquil/nightquil, chapstick, altoids, learn everyones names and a little about them, buy a around at the bar, let the crew know when they have done well, let them know in private if they haven't, have fun, stay cool, and be a confident leader. After my second week I was a little cranky because I wasn't used to the schedule. Never had doing laundry, showering, talking to loved ones, or buying gloves been so difficult to fit in. Most likely if you have been hired already you know all of that. :rolleyes: Cheers, Matt

Hi, I am interested in how one might start as a film electrician/spark/lamp operator? - Work at a Grip/Electric house? - Non-union shows Is the Lighting Technician Union the 728 in NYC? http://www.iatse728.org/ What are the requirements to join and how do you apply? Is it lamp operators, best boys, and gaffers? Thanks, Matt

Congrats Mr. Irvin on the project. Are you making those post-production workflow graphics? That is a good idea for explaining/selling a certain workflow to producers. Why do you have a G5 w/ RAID as the center of the workflow? Wouldn't the editor just capture from the deck to his/her NLE system? Are you personally storing all of the digitized 3:1:1 footage? The explanation of the Cine-Alta vs. Varicam was very illuminating. Are you working with a familiar crew? I'm sure having a reliable gaffer/keygrip would be required for this kind of schedule. I hope you can keep us updated during the production also. Do you have a set photographer? Cheers, Matt

Until one reaches the union level feature (i.e. is getting paid enough to live) music videos are good options. Although they are sometimes more trouble then they are worth, in two days I've made more than I have in a week on a feature. Doing several of these can offset the dearth in income by doing micro/low budget features. This thread has been helpful for planning for the future. These aren't numbers you learn about in film school, not that I'm in film school. Thanks and Cheers, Matt :lol: