Ricky Norris

great variety Rod! good song choice too.

Thanks Adrian, its a good point forsure. I think the initial intention was to really show what the reality of those scenarios felt like, as it was most of what I experienced last year, but I totally agree with you and it is much appreciated.

Thanks Adrian, its a good point forsure. I think the initial intention was to really show what the reality of those scenarios felt like, as it was most of what I experienced last year, but I totally agree with you and it is much appreciated.

Hey guys, Id love to share my reel from 2010 with you. The year started with narrative work and ended in documentary work. It was a beautiful year and I was blessed to see some pretty amazing sights and faces. I would love to hear from you. http://vimeo.com/18329478

Hunter, that looks so great man.

those frames look really great man.

Just wrapped last week, and had a great time. Shot Red, 4k 2:1, and cropped for 2.35, had Zeiss Super Speeds which really proved to be the perfect set for the shoot. Shot a decent amount of the film at f2, with more intense sections at f1.3 and the beach scenes which needed to feel more fresh in contrast to the 'stillness' of the rest of the film at a around a f4-5.6 split. Rated the red for 320. The film is about a couple going through a still birth, and how grieving and loss can turn into bitterness, something we think everyone will be able to relate to somehow. I was fortunate enough to be working with a director who really got the script, and allowed me to feel through the visuals with as much freedom as I needed. Shoot went 4 days, fairly packed but went smoothly none the less. We had a cat scheduled in the first day and so we were defiantly apprehensive at first, working with animals and scheduling that in with a company move, but thank the Lord it went really well and I have a new faith in cat wranglers, they do an incredible job getting you what you need. As far as lamps and setups, we had a 2.5k HMI Par most of the interiors, with a 1.2k HMI next to, and if we needed more inside we had a 400 Joker bug HMI which I loved. For the bathroom, we, thanks to the incredible job set design did, had a beautiful set bathroom built with 3 wild walls. We rigged a 12x griff with gold and silver above the set, with silver bounce on the sides. Shot our 2.5k up and it produced a great soft light. And finally for the beach setup, we had a 20x hi-lite which was a great soft while not being too soft either. I felt blessed to have such a great crew, my gaffer Daniel Mcnutt really executed the lighting so well, my 1st Chris Daniel pulled so solid and my op Joey Kennedy was so smooth, not to mention that my dolly grip featherd the slow moves so dang well (there were alot of them). I'm posting up some frames that I did a quick grade in Red Cine, and I would really love to hear what you all think. Thanks so much.

Photometrics on their site say that one 4by at ten feet will give you a 1.4. http://www.kinoflo.com/Lighting%20fixtures...hotometrics.htm

Doyle and Mullen definitely. Doyle is just such an amazing testament of how to make amazing films and yet not become a Hollywood type, and Mullen is just so aproachable with questions. Its very encouraging.

Chris Doyle is one of my heros.

Um I'm not positive, but I think that first link for the panasonic camera is a scam, make sure you check out resellerratings before buying from them. Be careful! As far as the cameras themselves, I know that alot of people, including myself, have had good experiences with the dvx. Its a dependable camera with a good rep. Features have been shot on it.

So I'm shooting a documentary next week in Arkansas on a DVXB, and its about a blind woman who has battled cancer four times, and has just had an intense life. I've shot a short about a blind person before, but I had a hard time last time figuring out how to shoot it, considering they don't really have a line of sight, so for my master shots I'm wondering how to shoot it. Any advice would be really helpful. Thanks.

Personally, and not that I'm any real feature expert, I enjoyed the film alot, but did have a little hard time at first watching whatever frame rate they shot it in. It just felt a little too National Geographic at first. Perhaps I just haven't seen enough features like that though? I have to give Semler credit because he made it work, and conveyed the story visually, and I'm glad I was uncomfortable, because I think the more variation in film industry we have, the better. The choice to shoot film or digital shouldn't be made based on cost effectiveness (though unfortunately, and especially for starving film students like myself it can be a unfortunate necessity :lol: ) but on whatever the DP felt would best fit the story and art of the film.

I personally thought that Lady In the Water was a beautiful film, and my favorite cinematography of 2006. Christopher Doyle conveyed the story so artistically and gracefully.