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mike spragg

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About mike spragg

  • Rank
    New

Profile Information

  • Occupation
    Cinematographer
  • Location
    London UK

Contact Methods

  • Website URL
    http://www.boondoxfilms.co.uk
  • Skype
    boondoxfilms
  1. Hi All, I am about to start principal photography on the next series of Strike Back in South Africa and we have switched to the Alexa. Can any one recommend an underwater housing for the Alexa M that would allow us to shoot in a confined space that is submerging ? Thanks Mike Spragg
  2. Thanks Kevin, it's pretty much what I thought and am planning for Strike Back Mike quote name='Kevin W Wilson' timestamp='1338525865' post='371871'] Most of the car chase stuff done in Michael Bay's films is done practically. For wide shots, chase shots, etc. cameras are usually mounted directly to vehicles and the natural vibration from the speed and movement of the cars adds the necessary effect. Almost every show M.B. does also uses the Pursuit Systems Porsche Cayenne to get more dynamic chase moves. http://www.pursuitsystems.com/ Close ups of actors in vehicles are done all the same way with Mr. Bay. He said in an interview years ago he picked it up from his low budget music video days and still uses it. Basically you put the actor in the vehicle and zoom the camera in and out rapidly while the camera operator shakes the film mag. See here: Bad Boys II Chase Skip to 1:37 and watch all the head on CU's from there on for examples of this in practice. The Hummer chase in The Rock uses this technique a lot as well. Once you know, it's easy to spot. It's also good for causing viewers to vomit and get headaches. Enjoy.
  3. Hi, I am shooting an action show in South Africa and have been watching the car pursuit/chase in Bad Boys 2. Most of the shots including car rig material has vibration and an 'unstable' camera feel. Does anyone know if any particular technique was used to achieve this look ? Thanks Mike Spragg
  4. mike spragg

    D21 Log Files

    I recently shot a TV Drama 3 part film for ITV UK in South Africa on the D21. We stripped the cameras down and shot the whole thing handheld and had a tremendous workflow - on set speed had been my initial concern but the D21 was gret. There was however one issue which I still have not had resolved. A number of recorded (on SRW deck) scenes had a distinct yellow caste which has been impossible to successfully grade out and we have ended up going with this 'look' which is not what I planned. Most of the shoot, I as DoP, operated second camera so did not monitor every A camera shot. However on the worst of these incidents, the scene was shot single camera and I monitored, with the DIT, the camera output which looked great. On reviewing the material back in the UK we discovered the ' yellow problem ' and have not been able to get to the bottom of it. I love the D21 and am about to embark on my first Alexa shoot - but I would like to know if anyone has a solution. Arri have not been able to answer yet but I don't think have yet been given one of the master tapes as production is only now completing. We shot 4:4:4 log and recorded onto the SRW-1 deck Mike Spragg DoP 'Kidnap and Ransom'
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