Christophe Collette

Hey there Nils, if you're interested in selling your Todd Ao let me know, I'd take it. Thx.

Hey, is this zoom still for sale? Thx!

Hi there, I'm looking for a Lomo Super Speed 22mm 1.4 OKC5 in any housing. Will offer good $. Thx! Any leads appreciated.

My comment also goes to you James. Annoyed by the French, get out of Texas a bit.

Wow! Can't believe this thread's anti-Quebec and anti-french direction, it is sad and should not be allowed on a forum like this one. We're not all separatists out here Richard, and even if we were, you should not post comments like that. Nicolas and Kim's work on War Witch should only make you proud. Canada's sent three films to the oscars in three years for best foreign films, all of them coming out of Quebec by the way.

Hi everyone, I am looking for movies, music videos or commercials shot on EPIC with Hawk Anamorphics V Lite 1.3x. Anyone knows any? Haywire has been shot on RED with Hawks but not the 1.3x. I can find very little work online shot on the V-Lite 1.3x in fact, so any links will be helpful. I want to see if the 1.3x carry the same anamorphic "softness" or if they are sharper. I am worried about excessive halations when paired with EPIC. I am prepping for a feature film right now and the director and I are looking into that option, but would like to see some work prior to getting lenses shipped for tests. Thank you!!

Hey, have a look at this. http://vimeo.com/3162190/ Workflow is explained too. I own the camera but have not tried it yet. C

Hi. Anyone has experience shooting Dry for Wet??? I am working on this pretty challenging music video, meaning no budget of course... The treatment is very interesting and happens in a cave filld with colored medusas, underwater. I intend to shoot dry for wet on a green screen with a bunch of wind machine and a harness rig for the talent (lord of the rings/tideland style). Initially I thought we would shoot this on the phantom, but I think it is not going to happen for money reasons. So I am looking at my options here, I could shoot at 120fps with the red but I don't think it will make the dry for wet believable at all, so I looked into this Sony HDR-SR10e which shoots up at 240fps. First I am really unsure that the quality is sufficient enough for green screen work... If someone shot with this cam professionally please let me know what you think. Second, I am thinking even 240 fps will not really look like underwater footage.... What do you guys think? Any advice on first hand experience with this technique would be greatly appreciated!! Shooting underwater if of course not an option for the budget I have been given. Christophe

Thanks guys, it initially made more sense for us to shoot on the red, money wise, the camera is expensive to rent in Montreal, non available... Thanks again, C

Hi everyone, I have not posted for a while now... I am shooting a commercial next week, for money reason the production switched from 35mm to Red and Phantom HD... We are shooting everything in slowmo, ranging from 60fps to 500fps. Therfore the need to shoot some vignettes on the Phantom. I have shot with both cameras before, I think I shot well over 20 commercials on the Red already and a couple of music videos on the Phantom. I am a bit nervous about the difference in looks between the two cameras, again, for money reason (and time also) we can't shoot everything on the Phantom. As anyone tried matching the two together by any chance? Any idea how difficult would that be? The commercial is consisted of vignettes, tableaux, there will not be a single shot that cuts straight from another one, so consistency should not be too hard in my mind but i'd like to hear that from someone else!!

Hi everyone, I have not posted for a while now... I am shooting a commercial next week, for money reason the production switched from 35mm to Red and Phantom HD... We are shooting everything in slowmo, ranging from 60fps to 500fps. Therfore the need to shoot some vignettes on the Phantom. I have shot with both cameras before, I think I shot well over 20 commercials on the Red already and a couple of music videos on the Phantom. I am a bit nervous about the difference in looks between the two cameras, again, for money reason (and time also) we can't shoot everything on the Phantom. As anyone tried matching the two together by any chance? Any idea how difficult would that be? The commercial is consisted of vignettes, tableaux, there will not be a single shot that cuts straight from another one, so consistency should not be too hard in my mind but i'd like to hear that from someone else!!

Thanks Wendell. Do you know where we could find Chris Soos' reel online??? C

Thanks for your comments guys! I also think the reel is a bit long... My other reel was a bit short, now i need an in between... The song I am not so sure I like that much either... Well, it'll work for a while I think. You can see my work on the www.nufilms.ca website. I usually work with Martin Fournier, but I did quite a bunch of videos which are on their website. I did a bunch of commercials with www.jetfilms.com too. Other than that, my website includes my photo work as well. Thanks! C

Thanks for your comments Morgan! The shots you listed are my personal favorites though! I like weird framing I guess. I designed the website myself in photoshop, my brother programmed it in flash... It's based on this website: www.paprika.com, a design agency. Talk to you later! Christophe

You can check out my website too! www.christophecollette.com C

Hi everyone, I just finished my new website, my new reel is online and I would like some feedback! Thanks a lot! www.christophecollette.com

Hi there, I just accepted a music video for Bran Van 3000 which will be shot with the first RED in Montreal. This will be the camera's first production. The video will be shot at night in night clubs around the world, literally, with very little extra lights but a ring light or something in the genre, it will be very much like a documentary. I will of course have a focus puller first AC, but he ain't that familiar with HD or the RED. What should I be worried about? What should I expect? I am supposed to have access to the camera all of next week for some tests. Thanks for your help. C

Student movie! Wow... I'm impressed. The AD is really good, so is everything it seems. It must have cost you a fortune. I am somehow familiar with copyrights, I am a commercial photographer who turned to cinematography. I have to deal with copyright issues now and then but I just read so often on the PDN website (www.pdnonline.com) about copyright's lawsuits in the States that I would really shy away from copying an artist such as Crewdson... Well, you are a student and you are refering to him in the open in this case ( with credits too ) and it ain't for commercial purposes... Still, I don't know... I'd ask first I think. If your short turns out a success and travels... You might get in trouble later on. C Last advice: Ask around. Your teachers, here on the forum... Some people might have answers regarding copyrights.

dinner.

Crewdson's photo. I think I like yours better! Hate the blue nights!

Hi Chris, Good stuff, really well done... One thing though, this is literally copied on Crewdson, not just pastiched, but copied. I don't know what sort of copyright trouble you could get into with this but you should investigate before you show this all over. Gregory Crewdson is not an obscure reference, he is a very well know contemporary artist whose work sells for quite a lot of money, he might not sue you but his agents probably could. I mean, that image of the naked girl with the burned out carpet, it's just so close to the original... But the lighting is good, I am less convinced by the close ups, too much light in my opinion, but the wide shots are really good. Is this timed? Color corrected already? Ciao, C

I borrowed a 1.2k HMI Par with FF ballast from a gaffer I know, I plan on bouncing it into a 8x8 silver lame pretty close to my subject, should pretty much give the same output as the 4k diffused heavily, it's going to be harsher but I'll have the broadness at least... Will I be alright with HMI with a ff ballast on a 2k genie for 45 degrees shutter angle??? I saw the transfert from the other dp's stuff, the footage that flicked, I think I can manage with the 1.2K HMI.... He went down to 11 degrees, the flicking was really slow, kind of like when you put a lamp behind a fan turning pretty slowly, I actually thought it looked quite cool! I think it was pretty risky for him to shoot such weird angles on a genie with no ff ballast... He is a very experienced dp from out of town, they flew him in for the gig, he is so booked up that there was no way he could come back to reshoot.... You would imagine that with that level of experience, he would not make such mistakes.... Well... Anyway, what's done is done. Gotta fix things up now! Thanks guys, I'll let you know how it went. C

I know, the company does not want to go through insurances to reshoot, they are paying for the reshoot therefore they are super tight on budget... I would have much preferred a 4k than two kinos but they made the list, and I stick with it. Do you have any experience shooting 45 degrees with kinos, I am guessing it should be fine, since kinos are ff, but I never shot 45 degrees before so I prefer asking before.... Thanks a lot. Christophe

Hey Joe, really good work, love it!! Thanks a lot for the info guys!!! Fortunately, I am shooting this video outside, it broad daylight, so 11 degrees wont be a problem at all. Thanks for the input. Another question while we are talking about shutter angle, will extreme shutter angle such as 11 degrees induce flicker when using HMI on a magnetic ballast?? I imagien that a safety rule when doing stuff like this would be to always shoot flicker free... Also, should I worry when using a small genie (with an inverter) with flicker free lamps, such as kinos for example? Thanks C

Hi there, I have to do a reshoot for a hip hop video that a friend of mine shot two days ago, he shot the whole thing at 45 degrees shutter angle on a 435, he had a 4k on a 12000w genie, the whole thing flicked... He had a magnetic ballast for his 4k... An error from the rental place, he asked for a ff ballast. Production went on, they were on location, far from the rental place. Anyway, here I am, reshooting for him since he is gone to other business, I have a continuity issue to deal with, that 45 degrees look, but I am a bit concerned since I never shot 45 degrees before. All I have for lighting are two kinos on a small genie, since kinos are flicker free, I should be fine at any shutter angle, but I'd like someone to reassure me, I am shooting this in three hours, just learned about it... Exposure correction is two stops, am i right??? Thanks for helping me out, C