Bobby Shore

Hi, I'm finishing up my website using iweb. When I look at the compressed versions of my reels on my desktop, they look fine, but when I import them to iweb, they become darker then they should be. Has this happened to anyone before? any advice, help, would be more then welcome. Thanks. Bobby Shore DP LA/Montreal

don't know if it's exactly what you're looking for, but here's a pretty interesting article about Rob McLachlan and his use of strobe lights and hot lights on Bionic Woman: http://www.studiodaily.com/filmandvideo/pr...mming/8582.html good luck... Bobby Shore DP LA/Montreal

what's up Adam! Great to hear about the short man... when are you shooting? Maybe I can come down from mtl. and help out. I have a couple friends at Columbia doing the film thing who can probably point you in the right direction. I'll track down some numbers and email them to you. When are you heading out east? Oh yeah, talk to Robbie Vroom as well, he shot a short in NYC last year. Talk soon man... Bobby Shore DP LA/Montreal

what up scottie, I tested a similar effect for my AFI thesis on the 5229 (combining a skip bleach and a pull)...I found that the 29, already a lower color sat. stock, combined with the skip bleach on the neg. took the life out of my lead actresses skin tone, so I decided against the pull process and used more fill on set to decrease the contrast. Generally with a skip bleach on the neg, your film speed will increase about 2/3 a stop (I guess that's subjective, but from the tests I did, I found that my "normal" for skip bleach was overexposed)... definitely underexposing the film more than this will help with decreasing contrast when you print up. Have you considered flashing the film at all? depending on your taste, you can pre or post flash the film, depending on whether you'd rather effect the shadows or highlights more. There's a great article in AC about Darius Khondji's approach to the photocheical work on Seven (how he combined flashing with an ACE to soften the contrast increase on the print... I know it's a bit different than a skip on the neg., but still a similar idea) Let me know how things go man. Bobby Shore DP LA/Montreal

Thanks for the replies... Definitely some interesting ideas. I'm thinking about maybe a low angle prism off a ubangi in low mode on the dolly or rigged normally on a jib (to really get that skimming off the ground feel). We'll be using a F900 either with digiprimes or 35 mm adapter and Cooke S4's. With a 4 ft. ubangi, how stable will the camera movement be for, say, a dolly forward at a pretty slow pace? The reason I ask is the video is pretty effects heavy and the VFX superviser is concerned about slight jiggles in the camera move... it doesn't need to be motion-control smooth or anything, just stable. In my experience, if the gear is well secured and the moves are simple, even with the 4 ft. off-set, the move is smooth (especially with wider lenses) Any thoughts? Thanks. Bobby Shore DP LA/Montreal

Does anyone know of a weaver-steadman type head to undersling a camera on a jib or dolly, but which is much more compact? I'm trying to push the camera forwards about 8 feet along the ground, but it needs to travel through several pairs of legs (a technocrane style move, but needs to be done on the cheap). The move is slow enough that as the camera passes through each pair of legs, the person will be able to step out of the way of the dolly or jib arm on which the camera is attached. I've attached a storyboard of the shot. Any advice would be more then welcome. Thanks. Bobby Shore DP LA/Montreal leg_shot.pdf

Thanks for the advice guys, I appreciate it. In the end, we're going with a powerpod SL for the size (only two axis, but all good). Thanks again! Bobby Shore DP LA/Montreal

I have a music video shoot coming up and a large part will be shot on stage with a felix crane that I'd like to outfit with a remote head. I've never used one before (kinda nervous), and for the space and moves we're looking to get, the smaller the head the better (there's one move in particular that needs to push the camera along the ground between several pairs of legs, so the lower the camera can get to the ground, the better as well) We'll be using a F900 outfitted with a p+s techniks 35mm adapter. Any advice, opinions, would be more than welcome. Thanks for your help. Bobby Shore DP LA/Montreal

I'm shooting a music video next week and for one of the breakdown's during the chorus, I'm trying to emulate (alright, straight up rip-off ) the effect of several strobes going off simultaneously to really break up the movement of the two band members... check the link below for the twin peaks reference on youtube (fast-forward to 4:30 in the clip): http://youtube.com/watch?v=96UY9UKTRAU&feature=related It's definitely not anything new, just wanted to get your opinion on the best way to achieve the effect: 3-4 8K paparazzi's, some data flashes, or straight up radio shack strobe lights (on the budget tip), that can be hooked up to different circuits on switches? Any thoughts? Thanks. Bobby Shore DP LA/Montreal

Use daylight balanced kinos whenever lighting greenscreen as there is much more blue-green in the color spectrum than tungsten lighting. The cleaner your screen work, the easier things are in post. Gel your kinos with plus green if you have it, but if not, not a huge deal. Good luck man. Bobby Shore DP LA/Montreal

What's your take on using Fuji stock for VFX work (roto, greenscreen, etc.)? Is the Eterna 200 T comparable to the Vision 2 200T for FX work? Any thoughts, opinions, would be more than welcome. Thanks. Bobby Shore DP LA/Montreal

I always the look of either glimmer glass, classic soft, or soft FX diffusion when shooting HD... just a personal preference. Especially the glimmer glass, I think it's nice combination of the kind of diff. you get from a pro-mist and the kind of diff. you get from a SFX or classic soft. Be careful about the density though, since XL2 is still only 1/3 CCD..if you're looking to take the edge off but not be too noticeable, try an 1/8 or 1/4... 1/2 may too much, but that's all subjective. An episode of a TV show I shot for IFC played out as film noir, and I wanted to go for that B&W reversal look from back in the day before they developed anti-halation backing on the film (which controls the blooming of overexposed highlights), so I combined a 1/2 GG with a 1/4 classic soft... you definitely notice the diff, but mostly in the way the highlights bloomed. Good luck. Bobby Shore DP LA/Montreal

Karl, we're all here to help each other out, so if you're going out of your way to insult someone who may not know as much about cinematography as others, why don;t you keep it to yourself. Or better yet, maybe you could recommend some books that would be helpful, or at least be constructive with your opinions. Matthew, check out Cinematography by Kris Malkiewicz, it's a greater starter...good luck man. Bobby Shore DP LA/Montreal

Tanner, how you doing man? I had a friend worked on a doc in the middle east for about a month this past year. I can put you in touch with him if you'd like. I'm not sure if he spend much (or any) time in Iraq (in which case, may not be the most useful conversation), but he definitely was in some pretty hardcore places. Let me know man. Give me a call if you want. Bobby Shore DP LA/Montreal

Vision 2 200T 5217/7217 is the best call for blue or green screen work... not sure what fuji recommends, but on a recent show (i was shooting fuji), the VFX supervisor asked to have the plate work done on the 17... it was no problem mixing the stocks (we finished HD). Everything intercut fine. Bobby Shore DP LA/Montreal

There's a filter factor number that refers to the light loss of each particular filter... using 1 as the starting point (no light loss), the number will increase depending on the density of the filter in question. There's a direct relation to the filter factor number and the stop loss: a filter factor of 2 means that the filter cuts half the amount of light passing through the glass (or one stop of light, i.e. ND .3 has a filter factor of 2, ND .6 has a filter factor of 4, ND .9 has a filter factor of 8, etc.)... so, FF 4 would be 2 stops light loss, 8 would be 3 stops light loss, etc... A red 25 filter has an FF of 8, which means the filter eats up 8 times the amount of light that would normally be going through the lens, which means you need to compensate by opening up 3 stops to let more light in... And for the grad filter question, they do make them in all colors and qualities... Skyfire Red is a grad filter that's red. Hope that helps. Bobby Shore DP LA/Montreal

for my money, Jeff Cronenweth's poor man's work in fight club (nightime scene in the rain) really stands out... Bobby Shore DP LA/Montreal

here's a link to an interview with Harris Savides, well before American Gangster, but he says some really interesting things about being a cinematographer... http://www.movienavigator.org/harris.htm Bobby Shore DP LA/Montreal

The DR group is bust on short ends now, as of last week. Media distributors is great to deal with, and will generally hook you up with a good price (of course older emulsions tend to be cheaper, as do the shorter of the short ends)... Fuji is also less expensive then kodak. they have an 800 number on their web site. Bobby Shore DP LA/Montreal

sorry man, I was just reading about man on fire in another forum topic and got the two confused... guess Denzel's just that good. Bobby Shore DP LA/Montreal

I just ripped this off another reply to the exact same question from a couple years ago... "Man on Fire" was covered in the April 2004 issue of International Cinematographers Guidld magazine [iCG] Film stocks: 5284 Expression - often pushed 1-2 stops for night and day interiors and to supplement with 5274 and 5248 for daytime, Cameron mentioned the '84 "had significant grain that just boiled in the high [lights] Kodak reversal 5285 cross processed and pushed as needed Cameras: (2) 35mm Panavision Millenium XLs (2) Arri 2C hand cranked (1) Arri 435 HS (2) 16mm Aaton XTR Prod (1) 16mm Aaton A-Minima A total of 17 cameras were used in the scene where the club explodes, 4 in fireboxes and one over a mile away to catch the explosion. Lenses: several 11-1 zooms 135-420 lenes complete set of Mark II primes Super 35 2:40 - special ground glasses were made for the 16mm cameras As mentioned in a previous post, they would often back crank the cameras, sometimes stopping down the aperture, and [sometimes] covering the lenses and then exposing the film again. Lighting: (partial) 12K HMI Pars 1200 HMI Pars 7K Xenons 2K Practicals Par Cans Kino Flos 12 light maxi brutes, used on dimmers at times. Additional Info: Cameron favors Rosco Cal Color gels and used a combination he has employed on other films like "Gone in Sixty Seconds' [American Cinematographer article online at the AC site] for a night scene outside the club that Denzel Washington's character, Creasy, destroys in the building. Apricot and Cal Color 30 on 12K HMI Pars for a sodium vapor look and Full Plus Green and 1/2 Blue on other 12K's for a Mercury Vapor look. When Denzel goes inside the club, Cameron used 20 Data Flash heads around the room in a circular chase pattern and 50,000 watts of light from another dozen or so Lighting Strikes units, combined with 2 7K Xenons hitting a disco ball in the center of the room. Another 20 + HMI 1200 Pars and 2Ks accented the architecture of the building along with 50 or more fluorescent cool white tubes. The practicals were accented with Cal Color Yellow 30 to dirty them up. Other bulbs were left bare and Kinos were hidden around the room.

Hi David, Thanks so much for the quick reply. What do you think about mixing super 35 in both 3 perf and 4 perf? I'll be shooting 2nd unit on a feature in a couple weeks, and from the conversations I've had with the DP, it sounds as though the b-cam/2nd unit cam. will be 4 perf and the a-cam. will be 3 perf. (not by his decision). Have you mixed these formats before? Is there any advice you can think of that I should know to make sure it doesn't become a problem when intercutting the footage? From what I understand, the project will be going through a DI. I read a great thread posted by David Stump about this on CML, but I figure it can never hurt to know more. Thanks again. Bobby Shore DP LA/Montreal

Hi Tim, Thanks for the heads up. I really appreciate it. Bobby Shore DP LA/Montreal

anyone have any opinions on shooting common top or center when using 3 perf super 35, or 4 perf super 35 or that matter? Any thoughts, advice, etc. would be welcome. What are the main differences between the two (in both 3 and 4 perf)? Thanks for the help. Bobby Shore DP LA/Montreal