Matt Workman

Hey, For those who don't frequent the RED forums I thought this last post and clip were worth a viewing, RED friendly or not. Specs: RED Lomo anamorphic lenses 35, 50, 75, 100, 150mm For close-ups we used 138mm Tiffen diopters Elite primes 18,20,22,24mm Shot wide open and specifically chose the older glass to introduce the flare characteristics. QT File http://www.redrelay.net/owners/0521/films/..._DK30-H.264.mov There are some hi-rez stills on the original RED forum post also. http://www.reduser.net/forum/showthread.php?t=11535 Very interesting look. Matt

Hey, I had the honor and pleasure of meeting with Mr. Max Goldman who has lensed some of my favorite contemporary music videos. Directors like Marc Webb, LilX, Phillip Andelman, Anthony Mandler, and more. www.maxgoldmandp.com Anyway, he mentioned that his go to HD camera when not shooting 35mm is the Phantom HD. 35mm lenses, etc. , relatively straight forward recording to cinemags. Not LOG color space but better than a F900. One of his recent videos for Jay Z was shot with the Phantom. I'm sure there are others but I didn't get to ask him what others. Jay Z "I Know" http://www.youtube.com/watch?v=6KhSjWZIhDQ *better version on Max's site Looking for more. I have a friend who shot a commercial with one but I lost the link. Matt

Well, I'm still very interested in the D20/21. The optical viewfinder, shutter, and 35mm sensor still make it a system I'd look to on a bigger budget shoot. Packages w/ Primes/Zooms are still around $5-6k I believe from CSC. Haven't heard much about it being tether free, like the F23 with the deck on the back like a mag. Anyway, here are a few more videos shot with the D20. Janet Jackson - Dir. Joseph Kahn http://www.youtube.com/watch?v=FGB4tbYoeaQ Dude N Nem - Dir. Morocco Matt

Hey, I'm aware of the Clinto Meter and SunPath software but I'm hestiant to buy it right away. Although it seems like a solid system. I also ran across this, but I would need a Windows PC palm, eww. www.sunpredictor.com Are there any good web apps? The Iphone now has a work around GPS locator, has anyone found anything taking advantage of this feature? Thanks, Matt

LOL...thats a special clip. Were you the gaffer on that? Just kidding :lol:

Tim: Yeah 20x20 was a dumb idea, I want to shoot low angle towards the sky anyway. Hal: Thanks, I haven't been over there for a while. Robert: Very helpful. - So I'm definitely going for the slider, where is a good place to rent one in NYC? - What does a Bazooka do? I've seen them around, but I've never used one. - The 800s w/ the tubes seemed good for fill light over the lens and are smaller profile, so the wind won't take them...as easily. So...I guess a 4x8 shiny bounce would just blow away...I did a shoot on a roof in Manhattan not to long ago where we almost lost a few of them to the wind. So most people don't bounce much huh? I'll probably bring a 4x4 shiny bounce for closeups or something and wip it out if its not too windy. Otherwise I guess it'll be pretty much natural lighting and jokers. I think ND grads might keep the sky under control if I'm going to have to be exposing for the talent, un lit. Good call on the dramamine or sea sick medicine...I completely forgot that I get sea sick...oh yeah I'm the DP also. Oh man...I just hope we aren't moving too much. Thanks, Matt

Hey, I have a shoot coming up that we are shooting on a Yacht during the day. Has anyone had experience lighting for this? Hopefully we are just staying still and not crusing at 40 knots or something... My first thoughts are obviously: - 8x8 checkerbounce - 4x4 mirrors - Shiny/Soft cards Is rigging a 12x12 or 20x20 insane on a boat? In Big Pimp'n it doesn't look like they were using any, mostly so you can do wide shots of the sky. http://www.youtube.com/watch?v=plUy7Me_fZQ How about dolly moves? Big Pimpin looks like steadicam. I was thinking of renting a slider and keepng it on a Fischer11 for simple camera moves. Also I was thinking about Joker800 with the light tube extension for run and gun pickups of interiors or just eyelights right above the lens. Any thoughts? Thanks, Matt

From ICQ March 2008 "Sin City" Russell Carpenter, ASC Doubles Down on 21 Quote: "I used Kino Flo VistaBeams, run through a layer of light grid and a layter of full grid, which subdued the light so much that it felt enviornmental, rather than being a modeling light from a movie. The trick is that it is modeled, but looks like it is part of the casino lighting." Go kinos! :lol:

Hi, I have a job that we are shooting NTSC Varicam and we need to eventually convert to PAL. Should I shoot 720 24p? Or can we shoot @ 25fps? We've been looking around and can't find the answer. Thanks, Matt

So I updated my site so the link to the reel doesn't work anymore. Instead find your way to www.mattworkman.com/dp -> Music Videos -> Johnny & Marcos Reel AlexanderD: Hah, a fellow roller. I kind of fell out of the scene a while ago. When I was in Boston I skated with Sean Hoyt and a Artie and few ASA kids. It was much different then. I had StylePoint Bobs and FifthElements back then. I also shot about 6 local rap videos when I was in the Bean too. Since I went to school in Rochester, NY where there is a big scene coincidentally. Mike Torres, Mike Dispenza and the likes. I've been in NYC for a year and really haven't found any body to skate with like back in the day but eventually. Xavier: Yeah I'll post the video when its on my site. I left out all of the performance setups in my reel and a few others so there will be some new stuff. Peace. Matt PS: How you liking the new website? www.mattworkman.com I tried to make a cleaner "agency" feel. :lol:

Chase: Thanks! What have you been upto lately? Tom: Yeah the HVX200/35mm is a workhorse these days for low budget music videos. As you know. The last video you posted the BTS from looked like fun. Anton: Yeah unfortunately it cast the tell tale triple shadow in certain places but not much to do about that. I was kind of put off by the actual sun blowing out the actors in some of the shots but it was too much trouble to fly a 12x12 silk on the roof...it was dangerously windy Xavier: Ehh no the book light was the original plan. Bouncing hard lighting into a ...bounce... then redirecting that through a silk is a book light. I just put the HMI's throught he silk, less sexy version of a book light. I actually pulled the lenses on the Pars to get the most out of them. Though stipple or wide really wouldn't have been too bad. *I'm updating my website in the next few days so these links won't work, but I'll just repost the new ones

Posted footage and set photos from this shoot: http://www.cinematography.com/forum2004/in...showtopic=29677 Whatup Anton! Small world right? The stage manager was telling me about that shoot from the day earlier. Our shots were most likely a little wider than the interview ones and the booklight idea wasn't working. Maybe a 12/6k Par would have done it like I originally thought. Damn, I didn't put any lights on the fire escape...though it was the 12th floor. We did utilize the skylights twice though.

*screen grab from camera - un color corrected Production: Johnny & Marco Director: Frank Florencio DP: Matt Workman Set Photos: http://www.mattworkman.com/photography/work/jm/ DP Highlight Reel: http://www.mattworkman.com/dp-v2/work-jm.html This is a follow up thread for a music video I'd been discussing how to light in the "lighting forum." Said Thread about lighting: "Big Softy" http://www.cinematography.com/forum2004/in...showtopic=29314 Anyway. Recap we shot HVX200 with a 35mm adapter, so somewhere near 100 ASA. I'm usually against adapters but this one was pretty nice and we used the new Zeiss ZF primes which were very nice. Roof, with a 8x8 Silver Lamee and a few 4x8 shiny bounces. Nothing crazy. Kitchen, had an image80 and a bunch of kinos and the kitchen had three 1.2k HMI's coming in through the skylight. Bathroom, had an image80, kinos, and a Joker on a boom arm. Living Room, in lieu of a 6k book light like I had wanted we just pushed 3x 1.2k HMI's through a 8x8 1/4 grid. It worked out ok. The first shot was a very wide push in, but on the following close ups we brought it much closer and cleaned it up. Thought it might be cool to actually post the results from a lighting thread. Peace. Matt

movie magic baby! :ph34r: ...yeah or the above mentioned...Even more fun with motion control cameras or match moving. http://www.mattepainting.org/ http://www.thegnomonworkshop.com/dvds/grou...chmoving_g.html Books: D'artiste: Matte Painting : Digtal Artists Master Class The Invisible Art: The Legends of Movie Matte Painting Digital Domain: The Leading Edge of Visual Effects Enjoi

Darryl your blog is awesome. The video bar video was great, who makes those?

Hey, TH: Yeah the 12x12 idea was no good. I ordered 8x8's instead. I'm using Silk, 1/4 silk and Silver Lamee. The G/E house didn't have griff/ultrabounce in anything but 12x12. AB: We are opting for a bunch of 1.2k HMI's actually, to avoid a tie-in. The loft is pre-rigged with a ton of 20 amps circuits, just no 50 amp/100 amp runs without the tie-in. Originally I was doing 12k/6k but the treatment needs different looks besides the soft feel and the group of 1.2ks will act as my big bounce and then I can break them off to use them as hard light also. RS: Ahh..Briese. No dice on that one, I wish. We have a big roof exterior in the morning first up and I'd love to have one but its a pretty specialized rental. Some day. EA: Yeah I have an army of 4x4 flops coming out for control. And a 8x8 solid if needed. The space is really big and some areas don't have skylights, making the place all sorts of different levels of light. That was why I originally just wanted to bounce a huge light and fill the whole dark side up. Don't use gridcloth much, I think thats what comes with the large chimera banks sometimes though. Feels kind of like paper with stringy grid in side of it? I already sent the order in, but maybe next time I'll try it. Thanks. Matt PS: Bastard Amber is a good sunset gel right? I'm going to throw that over my hard lights.

I'm also thinking about the Kino Blanket light with 1/4 diffusion. Would that be comparable to a 6k book light?

Hi, I have a music video coming up that takes place in a penthouse studio with 8' windows and skylights. I'm not going for the harsh sunlight coming through the windows feel, more of the soft ambient glamour feel. We are shooting HVX w/ 35mm adapter, so my sensitivity is around 100 ASA, ewwww. Oh well. That being said I'm bringin out so far: Image80s with 1/4 diffusion frames for key lights on a goal post. 1.2k HMIs for hard edges if needed. Joker800s for easy boomed back lights. Something I'm not familiar working with is book lights. I'd like to try a massive book light for this video though, because I think it would work well. I get that you bounch a large light into a bounce that then gets diffused. I just don't really know exactly what to use. My though is to: 12k HMI into 8x8 (Griff B/W, Griff Clear, Lamee) And bouncing that into a 12x12 1/4 silk I never use Griff and rarely use anything like that. I've used ultra bounce but this rental house doesn't stock it. What is the difference between these bounces? Which is going to bounce the most. Also given that the space isn't "that" big I think a 12k might be over kill, but the idea is to back up the source way out of frame and have it feel like ambient day light coming in. Would a 6k be fine, probably. Anyone with experience lighting up big studios like this I'd love to hear about it. thanks, Matt

I'm interested. Post away: set photos, grabs, etc. I'm still waiting for a job to pull out a D20 on :lol:

From the Apple Website: Application-Specific Requirements Final Cut Pro Capturing HD resolution video using the ProRes 422 format requires a Mac Pro with an Intel Xeon processor or a G5 Quad computer and a qualified third-party capture card. AVCHD support is only available on Intel based Macs. DVD-based AVCHD camcorders are not supported in Mac OS X v10.4 or earlier. From HD for Indies: FCP 6.0.2 -AVCHD o Intel Macs (1920x1080 interlaced) such as Panasonic HDC-SD3 and HDC-SD5, spanned clips NOW recognized since 6.0.1 didn't properly recognize them -AVC-Intra support - Log and Transfer window, BUT: must transcode to ProRes, Intel Mac only, no audio playback when limited playback capability (due to too slow of a Mac???), full video preview requires Mac Pro, Panasonic's AVC Intra codec must be installed. So - LOTTA caveats there Codec https://eww.pavc.panasonic.co.jp/pro-av/sup...d.htm#quicktime --- Sounds like the AVC codec is a pain in the ass, probably going to stick to DVCPROHD.

Hey thanks Mitch, Is the AVC-i the same as the 3000? Is it going to be 720 or 1080? If the codec is better than I'm all for it, but I don't want to bone the editor. Do you know what specifics are needed to deal with it in a FCP environment? Just the latest FCP update or something you have to get from Panasonic? Thank you for the help. Matt

I have a shoot coming up with the HPX2000, we got a great deal, would have liked to try the the 3000 but not really in the budget. Anyway, I've shot with the HVX200 and HPX500. We used my Powerbook G4 to transfer the footage and FCP 5.1 and 6 to edit. Is there anything I'll need to do to work with the HPX2000 footage? I'm planning on shooting 720 24pN. I assumed it would be identical to the 200/500 but I wasn't sure. Are there any other quirks or things with the system to look out for? I have the 16GB P2 driver upgrade already, is there anything else needed? Thanks, Matt

I'd like to add that wow, Rodrigo Prieto is posting. Sorry, I'm a fan. :lol: I'd read that story of you cutting your hand or something and the producer driving you to the hospital. A Mexican DP I know named Demian Barba told me that in Mexico the DP's don't get too specialized, or rather they specialize in everything. He just did a commercial down there and he was expected to shoot all the aerial stuff himself. DP/Operate/AC/Load while in a helicopter. I think that one of the hardest parts is just living a "normal" life while pursuing your dream. Paying for an apartment, food, entertainment, health insurance (whats that?), car bills, cell phone bills, etc. Having no predictable schedule reeks havoc on your social life and not knowing where your next pay check is coming from is a little nerve racking. I've seen some very successful husband/wife teams that both work in the industry. That seems like a good deal. If you can deal with all of the emotional and physical stress of working in this industry then that is the first step. I've seen a lot of film school kids come into this "lifestyle" and immediately take full time jobs. Don't blame them. It seems like an "all or nothing" kind of mentality. Maybe NYC is like that in general. <_<

NEEDHAM IN THE HOUSE! NYC rules! :ph34r: :blink: :lol: :P ....except in the winter :(

I'm glad this turned into a discussion about swag. Heard the one about how to tell an AC by how he's dressed? I hadn't until my 2nd AC told me. Chuckle, self-deprecating fellow. Satsuki Murashige: No special request on the body. The shutter was a two piece adjustable one. The 1st did negotiate us an on-board monitor, pana-glow, and some extra toys for the camera. He was friends with the prep-techs, I believe. 1st AC who can get extra camera equipment for free....HIRED! :lol: Oh, I shall be posting footage once its on my hard drive and edited into a mini movie. HDCAM transfer, yay! No DI, boo. Scene to Scene at Fotokem, yay! I live in NYC, boo. Editor lives in NYC, yay! My life is filled with traumatic ups and downs. I have a blog, you should read it. ;)