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Andrew White

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Posts posted by Andrew White

  1. Jamie - yeah i agree about the contrast, this was one of the things that got dialed back in post.

     

    Walter - not sure if that's a compliment or an insult

     

    Sing - yeah, it was originally supposed to be B&W and that's how i wanted it, but the director wanted to go with sepia and make the sky orange.

     

    Thanks for the comments, much appreciated.

     

    -Andrew

  2. Shot this commercial for Corto Moltedo, an Italian designer bag company. It is going to be featured on their website and play on loop on a TV monitor in their store front. We shot 2 days in NY with an amazing cast and crew who hauled all of camera and G&E up a 7 flight walk up - gotta love East Village apartment buildings. We shot with Zeiss Super Speeds on a Build #16. I shot at a T5.6 most of the time going against the norm because we were going for a very classic, Italian fashion look with deep blacks, high contrast, hard light, and deep DOF. Some of these qualities got dialed back in post, but I think over-all it maintains my original vision. Some of the shots (mainly the one where jealous girl is peering over the balcony) should have been shot with a green screen, but certain production considerations prevented this.

     

    Dir. Roxine Helberg

    CC. Brandon Roots

    Prod. John Logan

    www.2020pictures.com

     

    http://vimeo.com/2608035

     

    Higher res: http://2020pictures.com/Media/46993581.mov

  3. Hey Walter,

     

    Thank you for taking the time to do that, and for your insight. You have provided me with a few ideas on how to cut it differently and I agree that I could afford to lose a few seconds off most of the shots.

     

    Also, my name is Andrew White, which is the name on my reel....maybe you are referring to the site name which is a combination of finding a domain name that was not taken, but close to my real name, and a nod to my Italian heritage on my mother's side.

     

    Andrew

  4. Mr. Mullen - thank you for the response. I agree that it is too long but, I guess I just didn't know how to cut the song short of its actual ending...maybe a new song...

     

    Chris - as far as the shot in front of the window, the blacks were intentionally not crushed to true black because it was a flashback and I wanted it very low in contrast and milky. Also it was pulled a few stops, adding to the effect. I view it as a creative choice, but do you think that it distracts in a bad way and should be removed?

     

    Greg- which shots are you specifically referring to? The stuff with the blue tint was shot intentionally uncorrected, but it did vary slightly in the down-rezzing process....

     

    Thanks to everyone who commented.

     

    Andrew

  5. Chayse,

     

    Wow, man, some good looking stuff there. There's something about the style you have that I find really inspiring - each piece had its own distinct flavor and it all was beautiful. You are a great example of the next generation of cinematographers that continue to take film and video to new places. Really nice work.

     

    Andrew

  6. Thanks everyone for the suggestions and comments. Really appreciated - I agree totally with changing the order and losing a few shots. Cameras were Arri SRIII, Arri 35 III, and Arri Bl 4. Lenses were mostly zeiss standard primes, and filtration was stuff like coral grads and polas and light diff here and there using bpm in the 1/8 to 1/2 range.

     

    Andrew

  7. Lots of beautiful footage. I would move the first section down the line.

    What was the workflow like to get on the web w/ such high image quality?

     

    Thanks for the suggestion, I'm working it out right now, I might just lose the hand held stuff. The work flow was pretty standard - film telecined to HDcam for some, digibeta for others, edited in FCP and then exported as a slighly compressed .mov.

     

    Andrew

  8. Ah some magnificent stuff there - particularly liked the girls in the field, the black and white stuff and the romantic stuff at the end, particularly the bar scenes - which are brilliantly moody and actually very real (bar scenes are always very overlit.)

     

    My only major critism is that you start on that handheld stuff, now I like handheld and I think that material is very strong still, but perhaps not as visually dynamic to captivate the viewer as say the girls in the field. Handheld is also a matter of taste too - so I would hold it till a little latter in the showreel when you've established yourself more.

     

    Can you tell me what formats you are using?

     

    Best of luck, Andy

     

     

    Thanks Andy fo responding. Apparently we Andrew's need to stick together. I agree that the handheld is risky, but it's so short that I figured I could get by with it there. There is 35mm and 16mm negative - the B&W is reversal 16.

     

    Andrew

  9. Drew.

     

    Great work! If it didn't explicitly say that it was a student film, I wouldn't have guessed. The story was well thought out and it worked with the few locations. The acting was on point and the editing kept my interest throughout. As for the cinematography, I was wishing I had shot it because it was exactly right for the material. Someone mentioned it being flat, but I thought the living room scene was intentionally flat, and if so, a great choice! My favorite shot was the handheld/dolly of him running free, great energy and execution technically. You should be very proud of your work.

     

    Great message in the end, we should all remember that.

     

    -Andrew

  10. Hey all,

     

    I'm wondering if anyone has done something like this and if they could tell me what it looks like, maybe post a still if possible: I'm thinking of shooting 5217, overexposing it by 3 stops and pulling it back 2. I'm hoping to shoot up the contrast with the overexposure while also blowing out the color. There is not enough money for any form of post treatment (bb, enr, etc). So I'm looking for high contrast, deep blacks, and weak, unsaturated colors. I know this sounds like a wish list, but if I can get some feedback I'll atleast know where I stand.

     

    Thanks

     

    Andrew

  11. I did a search for "Twin Falls Idaho", but wasn't able to find a post directly about the film. I found many on "Northfork" and was confused as to why one received so much more attention than the other, both being by the Polish brothers and beautifully photographed by David Mullen. I think, and correct me if I'm wrong, it's because "Northfork" succeeds as fully realized film, where as "Twin Falls Idaho" is lacking in a few aspects.

     

    However, my point is that I was SO impressed with Mr. Mullen's photography in "Twin Falls Idaho" (as much as, if not more than "Northfork.") I found myself pausing the DVD to study some of his frames and wondering how he achieved such a unique look throughout. My favorite scene was when Blake and Francis are lying in the hospital bed when Francis is sick, and Penny is talking to Blake. There is this beautiful Kino (I think?) eye light at the top of his eyes and it looks as if he's seeing the "light at the end of the tunnel". Coupled by a wonderful performance by Mark Polish, this shot is extremely moving and affective. Congratulations Mr. Mullen on achieving such beautiful cinematography and contributing so much to the readers of this forum.

     

    -Andrew

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