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Chayse Irvin ASC, CSC

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Everything posted by Chayse Irvin ASC, CSC

  1. Just saw the film and its incredible. I loved the in camera frame rate changes. Very inspiring film. Still a little speechless.
  2. http://www.chayseirvin.com/video/stageing.mov I was going over some of the clips i've saved on this computer and I came across this scene from The Thin Red Line and I find the scene so inspirational. The staging is amazing, and John Toll exposes it perfectly. I love the anamorphic lens choice and the stop he shots it at. The DOF seems to hold the character and the interior surroundings while the exterior BG just falls out. The camera work is impeccable. At first I found this scene staged very objectively as if the viewer were the camera standing in the room tracking the characters. But after watching it again, I see it as a subjectively shot scene as James Caviezel character, Pvt. Witt, travels room to room the camera follows him tracking and experiencing the same moments he sees them in as he experiences the setting; the slow floating camera work really reflects that characters state and calmness and we see it through out the film. When the camera is on Sean Penn, Sgt. Welsh, the camera is static from Pvt. Witt's POV or constantly moving into the closest point of Welsh's eye line. The coverage of one of the characters is really different then the others and I find is so dynamic and interesting yet seen from the POV of Pvt. Witt. What do you guys think?
  3. I've always used DVD Capture: http://www.versiontracker.com/dyn/moreinfo/macosx/16324
  4. I have a quote from a company here that had a ArriLaser. For a IN it was $438.89 per min for a total 39,500.00 for the film.
  5. B&W Griff would work too. But you could also bounce off Muslin. But you would lose probably 30% of your bouncing light because it would throw right through muslin. I didn't do any backlighting the whole film. It was one of the rules I gave myself when conjuring the look and it was something that I could easily keep continuity with. The only time I did back lighting was day exterior scenes where we would stage the scene to be backlit by the sun. However for that scene I really wanted all the characters surrounded by darkness and the only light coming from the fire because of the context of the scene. One of the characters dies and the scene opens with his friends tossing his snowboard in the fire. I wanted the burning snowboard to be the light source for the whole scene. I agree, the hard backlight is overused in some sense, but also appropriate and practical for a lot of shoots.
  6. Thanks Andrew. Lots of hard work this time around. I hope it pays off.
  7. 35mm print project is more closely related to 2k. I didn't realize that. What would anamorphic projection be?
  8. Thanks a bunch Andrew. Heh, it was risky, but it worked out. I not as confident in my risk taking as i used to be. But when I shot that years ago I had much bigger cahonese. There was a time where I felt anything I did would look good. Oh ya. I agree its not the best shot in the reel. I wanted to let Music Video directors know I've done performance stuff so I through it in there. After my next project it will probably get replaced. Thanks JK. The compression is H264 done through compressor right off the sequence. I've found that there is a colour shift, more prevalent aliasing, and compression artifacts when I compress off a Uncompressed 4:2:2 quicktime of the sequence. When I go right from the sequence none of those problems occur. I do a slight gamma correction during the compression because the compression itself boosts the gamma up just a tad, so I correct for that during the compression. Here are the specs that I've made from doing this over and over again over the last few years: Name: 2.40 H264 Medium Description: H.264 File Extension: mov Estimated file size: 1.43 GB/hour of source Time remapping: source frames play at output rate Audio Encoder AAC, Stereo (L R), 48.000 kHz Video Encoder Format: QT Width: 720 Height: 306 Pixel aspect ratio: Square Crop to: Letterbox area of source (L: 0, T: 86, R: 0, B: 86) Padding: None Frame rate: (100% of source) Frame Controls: Automatically selected: Off Codec Type: H.264 Multi-pass: On, frame reorder: On Pixel depth: 24 Spatial quality: 75 Min. Spatial quality: 50 Temporal quality: 50 Min. temporal quality: 50 Average data rate: 3.413 (Mbps) Maximum data rate: 3.413 (Mbps) Fast Start: on Gamma Correction Gamma: 1.100 Thanks David. That shot was done off a jib into a tree house. I lit it with a bounce just off screen. I think we draped a 6x6 ultra bounce off the wall and then through a mini 9 light maxi with 1/2 CTS into it. On the ground of the 17ft tree house I put a 8x8 ultra bounce and that back through a 8x8 Muslin, that had a mini 9 in it too. It was 2 stops underexposed. You cant feel it in that part of the shot... but the character walks around the girl and looks over the edge of the tree house while talking about the end of the world. The source at the bottom was so soft all it did was create highlights under his eyes and since it was so underexposed it made for a really reddish flesh tone highlight; it was perfect for the mood of the scene. Thanks for the complement. Children of Men is one of my favorite films and Emmanuel Lubezki is my favorite cinematographer. I uploaded a final version of the song and reel last night. I want to thank everyone who commented and critiqued the reel. Anyone know what I'm supposed to do next? hehe
  9. Looks awesome David. I like the simplicity of it and stills look great. When do you think you'll have the reel up?
  10. THANKS DORY! Thats the most inspiring complement i have ever received! That was 7201. The scratches and burns were done in the camera changing bag. I reached in there, crumpled up some film and then pulled a bit out of the bag. I had no idea what it would look like, but the results were great. It only worked on the first 150ft or so of film. Perfect for the feeling of the video. The saturation mainly showed up in the red and yellow channels. Some of the footage has a huge red burn on the side for the image that dances around and any flesh tone that enters the burn would turn into a blown out yellow. Looked really good. Thanks Timo. Was there anything in particular you didn't like about the hip hop stuff? The song is imogen heap "Hide and Seek". The beat was put on by a buddy of mine and same with the guitar at the end.
  11. Amen. I felt like he was cutting off his nose to spite his face by shooting digital. Both films I didn't think those films felt or looked that good at all. But that was the intent, which I think is brilliant. The question is, would it have been a better film if it was shot amazingly beautiful? or would it have been the same "ok" movie, but with better looking photography?
  12. Just got back from the demo in vancouver and I think the stock looked fantastic. I think if the 19 does as well as I think it will, the 18 will get discontinued not to far in the future from now. The 19 is finer grain but it still has that film quality we all love. Its the stock i've been waiting for. Can't wait to shoot it.
  13. Thanks Kevin. To the left of the screen was a 6x6 ultra bounce with 2 mini 9 light maxi's w/ 1/2 CTS and Chocolate on a flicker generator. As the shot starts on the fire I have a grip flopping the light coming from the bounce off the actors to hide the source and just had the fire lighting them, as the camera travels away from the fire he slowly removes the flop. For the rest of the coverage I used a 6x6 ultra bounce with the two mini9's and added a 6x6 bleach muslin frame in front; I moved it in to compensate for the stop loss.
  14. Thanks Alex. The film isn't out yet. Last I heard it was trying to premier at next years Toronto film fest. I've updated the reel so check it on the same links. All thats left is to finish up the remix to the song.
  15. I've always found camera composition much less sophisticated then lighting/exposure. In fact I believe to a certain extent that any shot can be a an amazing shot if its lit/exposed amazingly. Obviously camera movement can manipulate the viewer to certain emotional points, but if its lit without emotion, the camera move would become an obvious attempt at manipulation and have no effect on the viewer. Some of my favorite films have simple compositions, the emotion is expressed through the lighting.
  16. Thanks for the critiques guys. I've adjusted the reel quite a bit. Took one some of the smoking shots and replaced the moon shot for another. I'm also having the song remixed again, but it wont be finished till after monday.
  17. I've been working on my 08 reel, filling it with the little stuff I shot this year. I'm hoping to perfect it in the new year and finally get off my ass and start this cinematography thing full time. 720p 480p 360p Critique please!
  18. I have some movies to watch! I haven't seen one of those films.
  19. Do it. Its a good tool to help you learn. I learned on a little Canon GL1.
  20. I totally agree. In fact i've seen the film 5 times now and I really think its one of the best films I've ever seen. I love directors that utilize the moments where nothing is said to create tension, some people think its drawn out but i'm always at the edge of my seat. My favorite scene in the movie, acting and lighting wise, is the scene where Jesse James travels to visit Ed Miller. The look of the scene make me feel so cold and uneasy, and its a great example of how a look of a scene and aid in a performance; the moment in the scene where jesse stands to gaze out is great and as soon as he looks back to Ed to tell him to go with him on a ride he turns his head and his face falls off into shadow; that menacing eye light is glowing at the side of his eye. Just perfect. Man, talking about it is making me want to see it again.
  21. I felt the same way tom. I can appreciate cinematography that doesn't draw attention to itself, however I felt the content of this movie could have really used some amazingly lit scenes with some grimy compositions. As far as story goes I wasn't really attached or routing for Crowe's character nor did I care for the corrupt cops; I felt if they should have shown more of his relationship with the victims of the disease that Frank was mass producing. They hit the right note with the image of a baby crying next to a mother that is so high that she cant move to nurse or calm the baby, I would have liked to see more of that. I would have loved to see that contrast in the lighting, glorifying Frank for a majority of the movie, then switching it on the viewer by showing them what is really happening outside of his home.
  22. I agree there is a lot of draw backs to a 35mm adapter and depending on the look your going for a lot of the time its not that useful. I use if often because I love using wider lenses and still having the ability to selectively focus on certain information in the frame. I think it?s a valuable story telling tool. A lot of the stories I?ve been shooting lately thrive when I can direct the viewers eye to a certain thing within the frame by focus, and I love the ability to direct the viewers eye in that way while still showing a lot of the setting. I am willing to sacrifice for that. Whenever I see a long lens in a film I get this feeling where I'm actually looking through a long lens instead of watching a movie, I think it is because in reality the human eye is a wide lens that selectively focuses on objects. I think that feeling translates on screen. A painter friend of mine once told me that he only paints detail on his canvases where he wants the viewer to see, its a way to manipulate that viewer, then he showed me a painting of a man. I didn?t notice this at first but in the painting the man was being stomped on by a polar bear, but I couldn't see it, all I could see was the man because he was so detailed, in his clothing and body, everything around him seemed abstract, but with a closer look it told a story. I feel the same way about my cinematography.
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