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Vincent Biron

Basic Member
  • Posts

    11
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Profile Information

  • Occupation
    Cinematographer
  • Location
    Montréal, Canada
  • Specialties
    Altman, Fassbinder, Allen, Jean-Claude Lauzon and many others...

Contact Methods

  • Website URL
    http://www.vbiron.com
  1. Hello everybody! I haven't been around these parts for a while, but I'm glad to see that the forum is still very active! Here's my question : A couple of years ago, I used this weird contraption on a feature-film I was shooting; it was a gear system you rigged onto the dolly tracks that linked up the camera movement to the Preston Micro-Force that controlled the zoom on the camera. We used it to do a very slow and subtle Vertigo effect of a two-minutes tracking shot. So basically whenever the camera move backwards, the lens would zoom in proportionally. Now, I'm shooting another thing in january and am looking for a similar effect, but alas I can't seem to find anywhere in my emails what was the name/maker of that device. Anybody had any idea of that that device could be? Tried googling like crazy but to no avail... If anyone could help me out, I'd be eternally grateful Cheers Vincent
  2. Well, if I may intervene... I'm no expert on the matter, but it seems to me that shutter speed/type makes a big difference in the final look of an image, but is often disregarded by some cinematographers. The D-21 and Alexa seem to have less of that Red-typical digital edge, and I really think this is due to the rolling shutter being more apparent on a camera that has no physical shutter to block the light while the sensor is refreshing.... Like I said, I'm not a engineer type guy, so those are my two cents... I'd be happy to read a reply by someone more "informed" on the shutter intricacies. Cheers, Vincent
  3. I couldn't agree more with all of you guys. It has become an increasing trend in the trade to talk more about the gadgets and the numbers than what you actually do with them. What matters ultimately is what ends up on the screen, and so far the Alexa has what I consider the most pleasing digital image that I've ever seen. Add to that the now-famous sturdy, easy to use design that has made Arri famous, and you've got a winner. I love the Red, but it always had this subtle digital edge to it that bothered me. Alexa seems to be the answer to this. I'll take 3, please. :P
  4. Really good! Actually, a little long; don't forget most producers have a very short attention span... Try cutting a shorter version; you can always provide a link to a longer version if people want to see more. I like the simple wide frames. You got quite an eye. Was thte ground glass purposely visible in the second project? Good idea, always wanted to try that but the occasion never rose. Almost there, I think. Just needs some tightening here and there. Vincent
  5. Thanks everyone for your comments! Thomas and Edgar : You were totally right. I changed the editing quite a bit to cut the long stuff and add some variety... The result is on my Vimeo page : http://www.vimeo.com/vbiron . Fabian : Thank you very much. That's exactly what I'm aiming for. On shouldn't impose his aesthetic on a piece, but rather adapt to the style needed by the story. Your own personal style has to come out by itself, without it ever interfering with the storytelling. Cheers! Vincent
  6. Hey Greg! Great stuff, efficient website... I really like your reel... Btw, little question; is it worth the money to get a CSC membership? I'm 25, and I've already shot a couple of series (fiction and doc) and films and I'm wondering if getting into the CSC will get me more work... Thanks! Vincent vbiron.com
  7. Hey Chris! Some of the stuff feels repetitive, and a little unveven... i would maybe cut some of the wedding stuff, which looks weak compared to the rest (Weird man climbing the red floor, man dressing....) Cheers! Vincent B. vbiron.com
  8. Hey Brendan! Great reel, but here are some of my pointers; most of it looks great, but I would lose all the "post" slow-mo shots--- kinda looks tv-ish. Also, some of it is a little repetitive; I mean, I love Dan Akroyd as much as anybody else, but that coming back to him towards the end feels like your trying to kill time.... Better short and good than too long and repetitive... Anyways, congrats! Vincent B. vbiron.com
  9. Hey guys! Just updated my reel; thoughts, suggestions and insults welcome... :-) I tried to stay away from the trippy mellow songs and tried something more upbeat, what do you think? http://www.vbiron.com/demo.html Cheers! Vincent B.
  10. Yeah, I think I agree with Saul. Sometimes, you are better off cutting some things down instead of it being repetitive. I've watched my demo reel with producers and man do these guy have a limited attention span! Cheers, Vincent
  11. This on cracked me up alright! Man I wish I couldve done that for some of the stuff I've shot... Damn NLEs makin' CC easier to do for those fidgety editors! V. Biron http://www.vbiron.com
  12. Hey all! Thanks again for the suggestions... Toby : Yeah, I guess we wouldn't see them that much, but the director wanted some shots trough the window shooting in the backyard, as the story involves all tenants of a three-stories building... I guess I'll just shoot around the scaffolding.... Ralph : :lol: --- Condor? Yeah, forgot to mention I'm in Montreal. Most features here rarely have that kind of gear (except american shoots) - let alone MusiquePlus (the québecois MTV) I'm shooting with only a gaffer and a camera assistant. I'm trying to push for grip, but were just too low-budget. Vincent B.
  13. David : Alas, no balcony and the roof isn't accessible... Actually, I wouldn't go for the stands on the ground as the building is really squeezed between other buildings and big trees, and moving big stands around those obstacles would be a bitch. Thanks guys... Yeah, I was thinking about scaffolding, cause it got mentioned during our first location visit... Some were already installed for renovations, and we though it could make a great solution to my problems. Since were gonna be in that apartment for 4 months, I guess it's worth the time. My only concern with them is them being too visible in some of the coverage we're going for. Anyways, I guess I could blow out the windows a little more, and make them wash out.... I'll try sending pictures asap... Thanks again... Vincent
  14. Greetings to all... I searched for a previous answer, but couldn't find a right answer.... I'm about to start shooting the second season of a comedy series here on MusiquePlus, and production has switched location from last year. The show is mostly set in an apartment. So, on the first season, I used to light it with a 1.2K HMI Par on a Sky-High Rolling Stand through the window and two Diva-Lites as fill, going for that "it's always sunny look" . However, that apartment was set on the ground floor, and now they're talking about getting a second-floor appartment, which has windows about 20' from the ground. Now any thoughts on.... 1. How I could rig a 575W or 1.2K HMI outside a second story window (Big stands are out of the question- too long to move them) 2. Or how I could simulate light coming trough a window from the inside? thanks guys! Vincent
  15. That's gotta be the funniest thing i've heard about.... no wait Utili-kilt's even funnier! :lol: We should bring that to every set...
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