Mikael Gustafsson

Works for me, only thing I reacted to was the commercial reel: it felt quite long. I ended up fast forwarding. Some of the feature shots were extraordinary, and the locations looked really good!

I've been pondering about that for quite some time now, and the scale is tipping over in favor of getting a reel done. But at least in my area it seems to shift a bit, sometimes DOP's have reels on their websites and sometimes not. Usually the more established people seem to neglect it, so either I'm posing or way off :)

Thank you for replying! I'm not sure I quite understood, you're not too excited about the layout or? The visual part is quite easily changeable, the service provider has a bunch of different templates that can be modified in all eternity. I'd recommend Cargo Collective for people needing homepage services(I don't work there, no affiliations). It was easy to use and I managed to do most of it myself.

Hello. I'm posting this twice on the forum now, if it's a problem then I'll be glad to remove either post. I wasn't really sure which section was intended for stuff like this. I finally got a website online. I crammed it with most of the stuff I've done during the past five years. The site can be found here: mikaelg.com Please feel free to tell me what doesn't do it for you or if there's something you'd remove or change? No need to be polite, any opinion is welcome! Best regards, Mikael Gustafsson

I finally got a website online with most of the stuff I've dp'd on during the past years. Now I've pretty much just added everything I could get my hands on. I would be extremely happy to hear some comments on what you'd do differently and what you think could be removed? If something feels amateurish or pointless then please let me know, no need to be polite! You can find the website here: mikaelg.com Best regards and thank you in advance, Mikael Gustafsson

Some frame-grabs.

Here's a link to a short I was lucky enough to be working on. It got me into a new film school and I really enjoyed shooting it. I would be glad to hear your comments and suggestions on how it could have been improved. Aside from shooting it I helped out with the props and scenery. The director gave me a lot of freedom and trusted me more than anyone so far. I'm in a huge debt to all the wonderful people from my former school who helped without pay during the five day shoot. http://www.runawaybeer.com/?page_id=194 There's another thread about this project within the "In production" - forum. It can be found here: http://www.cinematography.com/index.php?showtopic=32830 Thank you very much! -Mikael

One way is to register at some image storage website (for ex http://www.photobucket.com) and upload the images there, then just provide image links to them here. I guess you could register and get more space as well, don't know much about that though. Yours, Mikael.

Thank you very much for the encouraging words. I'm really happy with the casting myself, both Ilkka and Jasmin were really nice to work with. Kopparberg sponsored the beers, hence the Zeunerts. Basically we just wanted a brand that wasn't too well known. We got some booze in return, and got drunk.

Chayse, thank you again for the insightful points you brought up. I must say I agree, and I'll have to elaborate a bit further on why this particular detail caught my eye. We're working on a really subtle, and slow paced, maybe I daresay beautiful film with a lot of close ups of an old mans expressions and face. Lot of long shots with very few distracting elements. Most of the stuff is going on in the persons mind, we're not being presented with dialogue or blatant action. Because of many reasons the persons situation is two-folded, and I wanted to make that clear even with the visuals. The other light will always be coming from the overcast sky, a colorless, extremely soft blanket of light. On the other hand we have a pressurized petrol lamp that the person is carrying around, this light will be harsh, warm and fiery. At certain parts the lights take over each others roles depending on what's going on in the story. I had been thinking about the softer light quite a bit, and your screenshots and explanation seemed to fit in like a piece in a puzzle. I'll try not to mimick what you've done, but use the idea of softening bounce and see if that works. No idea why I've never thought about it. Thank you again, and I'll be sure to keep in mind what you wrote.

A detail which I totally forgot: the production stills from the first post are shot by Dan Gustafsson and Matias Nystedt.

Another set of screenshots:

A huge bunch of screengrabs:

Thank you very much for the detailed answer. I'll try and use some similar ideas on the next project. I'll be extremely happy if we can pull off even half of what you've done there. One additional question though, what exactly is a "light fay"? My guess would be that it's some sort of Ninelight or Maxibrute, but smaller? Thanks and take care! Mikael

Just wanted to chime in concerning the 180 degree rule. Since people are being flushed by images, photos and films in such a rapid fashion as today, I would be bold enough to say it's getting a bit passé. Of course you need to establish the area where the action takes place, but after you've shown it I wouldn't stick with just safe cuts. Naturally depending on the situation. Agreeing with Mr Hunter is the short way to put it.