Chayse Irvin ASC, CSC

Its been a while but last week we had the shoot and the swing mount was a sucess. Jesse Regimbal, a young Key Grip in town whom I worked on Smallville 2nd unit with build the rig with my Gaffer/Key Grip Dave McClung late at night where we had over night security watch over it. Here's a clip of the rig in action. http://mikebrowne.com/pappy/swing-rig.mpg

Rest in peace John. I will never forget his help and advice.

I think I could learn the most from Robert Richardson. His body of work is the most divers in my opinion. However my favorite cinematgraphy comes from Emmanuel Lubezki and John Toll.

Damn. I just watched Paper Moon and Targets the other week. Amazing cinematographer and I'm sad he's gone. His work will continue to inspire those for years to come.

http://www.pstechnik.de/en/digitalfilm-vdf35.php

Thats impressive... :wub:

Its a 60,000W Genny, but try not to ever draw a full load off a generator, its bad for it. It will probably over heat if its hot out before you even get to a full load.

Looks good Jonathan. For ease of use I would clip off the the 15-amp switch. As a lamp op I would throw that thing out of a window if I had to constantly rig it up places. Just attach a male and female AC ends to the switch and you can use it anywhere down the powers path. If you wanted to do lighting cue your lamp op is forced to be within 15ft of the fixture rather then in the eyeline of the object causing the cue.

Nice David! Are you excited about the project? Is the shooting schedule a decent one?

Heh, not sure if labs do that. Your going to have to call.

Hummm, not sure.

Post houses wouldn't have short ends. Production would. Usually the 2nd AC on a show would have them. Check out IA669 production list and call up a 35mm shows' office and try and get contact info for the main unit 2nd AC. I have a 400ft roll of 50D, but I can't sell it for less then $80.

I would really recommend pushing for viper if you can. It shoots 2.37 in a way that instead of cropping or using anamorphic lenses it changes that actual size of the vertical pixels being recorded by technology that allows the pixels to become taller or shorter. Its kind of like how Varicam, when recording to tape, records a 980x720 image through turning square pixels into horizontal rectangular pixels, but the viper does it in reverse with vertical pixels, so it maintains a 1920x1080 image but at a scope aspect ratio. If you cant get the viper I would suggest a crop.

Heh. Shoots done. It went really well. I wish I could show some footage, but I'd be breaking rules. I have write-ups for each week of production as well as I'm cutting together some clips of footage that I talk about in each write up. However I cant post it till I get the ok from the big boss in LA... Unfortunately I probably wont be able to do anything till the movie is released, when ever that is.

David Claessen's site is pretty cool. http://www.davidclaessen.com/ Found David Moxness's site the other day. However he doesn't have any of his ASC award winning smallville work on it. http://www.cinemox.com/ Scott Duncan has a rad site too. http://www.scottduncanfilms.com/

Rainmaker is a great company. If you tell them your situation and that your a student :rolleyes: they will often cut great deals. Begging doesn't hurt, my knees are all healed up and its only been a week! :D

... Thats a lot of night ext. work. Any condor work involved? What was your strategy to make your day on big set ups?

Looks awesome Chris! I'm pretty sure i went to high school with one of your actresses there, hehe. And I know Katie your AC too. Cant remember from where tho. I think I lit a green screen for one of her cinematography classes.

I usually use the heavy stuff. Bleached Muslin, Full Grid, and 129 are my favorites right now. Bleached Muslin in my 6x6 and larger frames, Full Grid or Silent Grid on my kenos, and 129 on my 4x4 and smaller frames. I find myself using in most situations. I really dont stray away from that quality of light. Consistency is important to me.

I'm looking to do a shot with a SR-II rigged on a swing where there camera is shooting center frame on the character as they swing up and down. I remember seeing a shot like it in Babel. Anyone have a clue how Rodrigo Prieto achieved that?

Very impressive. How much night exterior work is there?

I know how you feel buddy. I just found a commercial Gaffer/Key Grip (with a electricians ticket) I like working with. Really smart, intuitive and his personality is relaxed and soft spoken. However my style of lighting was far different then what he was used to, probably because I'm a mostly a narrative DP and he does all commerical projects, so I really had to hammer it into him each set up the quality of light i was looking for (I was looking for a quality of light thats hard to achieve in certain environments). Besides that after a week of working with him we had things pretty much down. Before I met him I had a string of Gaffers that we just didn't mesh as a team well. For me it was just luck that the Producer knew him and hired him. I haven't been DPing for a really long time so I find its good to ask producers, PM's, as well as fellow DP's whom they like working with before going into a gig.

Looks good! Another nifty use is by rigging it on the end of a painters pole with a cardellni and a grip head. Really handy for keying or eye-lighting hallway walk and talks.

Your style reminds me of a DP named Attila Szalay.

Looks great Jonathan! Nothin like getting paid to do what you love eh? :D