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Matt Sandstrom

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Everything posted by Matt Sandstrom

  1. autopoles are great and i've used them a lot lately. either between walls, which is what they're really for i guess, but also hung between two stands. /matt
  2. it's been a while since i saw the film, but it seemed like the spolight source wasn't directly above the camera, was it? at least a few feet up and to one side in most of these shots? maybe i'm wrong, just a sugegstion. i'd probably do it that way and i think it would look more like a spotlight too since it would cast a visible shadow. /matt
  3. sorry, i apologize. you've never been that kind to me in the past, on the contrary it feels like we've argued about everything there is to argue about, so i guess i was way too sensitive. :-) /matt
  4. feel free to experiment, but be careful with what monitor you're doing it on. what it seems like you've been trying to do is already the look it has on a tv. your version would be way too hot i think. but i appreciate all suggestions. these stills came from the dv offline and have only been best light corrected in the scanner. /matt
  5. thanks. good ideas on the separation issue too. i did want it to turn out the way it did but i'll keep your ideas in mind for another time. it's easy to do if you have hmi's and it can look really beautiful. i'll look some more at vermeers work for sure. however, while i think my lighting skills have imporoved tremendously over the last year i've always been quite strong in composition if i may say so myself. i suspect you're comparing to the "surrealist" cdoass video which was shot on super 16 but scanned as regular 16 due to a broken s16 gate, which of course threw the composition off completely. but i've explained this to you many times before, so i don't quite see why you always have to bring it up. it just makes me feel uneasy puts me in a defensive position i don't like to be in. i posted that clip to get editing ideas, not to brag about my cinematography, but if i had known that it (you) would follow me around forever i wouldn't have. it wasn't even released as you know. we reshot it completely. /matt
  6. thanks. no it's actually not natural light. the window was covered with diffusion and a blonde shot through it. the other window in the room was gelled with cto, not much light coming through it but i didn't want the shadows to go blue, and then foamcore on the low right to make his face a bit more 3d. a blonde bounced off a piece of foamcore and then through a 4x4 diffusion frame, about four meter away, at an angle where it just started to wrap over to her right eye, and flagged off the back wall, the white left wall providing fill automatically. there's also a slight kicker from high up on the right, a hard redhead source. i think we flagged it off so much that it's hardly visible in this particular shot. all day exteriors were shot in natural light with foamcore bounce for fill and the above mentioned flashlight as an eyelight on the closeups. it was mostly overcast both days of shooting, but we created that look ourselves on some shots by shading the sun with diffusion or placing the scene under a tree. the exception is the greenhouse scene in which we used the blonde with a half blue to simulate morning light at noon. burning out the sky in telecine helped sell that too. yes. /matt
  7. thanks. we ended up using two redheads and a 2k generator instead, and a blonde for interiors when we had access to more power. and we shot f-400t instead. and the location changed. :-) anyway, here are some results if you're interested:
  8. on a shoot that's big enough to have a "real" first ad i let them yell action. they like to be in control plus everybody listens to them, so it's a pretty good idea. i'm the one who says cut though (after which the ad does the same, only louder and more convincing) ;-) and i give cues to the ad as to when to yell action if the scene shouldn't start right after rolling and slating. that seems to be how it usually works. i work as a director of photography and first ac too, so i've also seen quite a few productions where i haven't been in the chair... speaking of which, how many working directors are also directors of photography? people are often surprised that i am. i didn't start as one and made a "career move" to the other, i've just done both from when i first started out. and i don't mean that i shoot my own stuff, which i usually don't even though it happens... /matt
  9. hi all, the subject and description explains most of it. i'm doing a night for night shoot and have two 135w pocket hmi's along with the basic collection of gels and diffusion but not much else besides stands and gaffer's tape, and maybe a small maglite for that sparkle in the eyes? the scene is a romatic meeting between two teenagers in a park in a small town, and the director hasn't told me more than that it should look cool and interesting. there are a few street lights around and maybe some distant bridge, highway or something i can use as a background. i'm scouting further this week. i'm very unsure how much light these hmi's output, but it seems like it should be enough to light the couple at least in some interesting way? i'm shooting super 16 vision2 500t. thanks for any suggestion, and let me know if i have provided too little info. /matt
  10. ironically i think colorlab is the best black and white lab in new york. well, they're not in new york but they have offices and film drop off there. i haven't used them since a couple of years ago (i left new york for stockholm), but they were always really helpful, delivered great results, and at a very good price. /matt
  11. *delurk* i shot a test chart with k40 in a canon 814e with the zoom on medium and stopped down to 2.8 or so a few years ago, and projected it with a high end projector. it indicated a resolution of the equivalent of around 800x600 pixels, which seems to match what david mullen is saying about it being the ballpark of pal and hd. this was for the moving image though. the grain makes the still frames less sharp. /matt -- http://www.mattias.nu/
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