Jump to content

Cris Moris

Basic Member
  • Content Count

    40
  • Joined

  • Last visited

Community Reputation

0 Neutral

About Cris Moris

  • Rank

  • Birthday 05/01/1979

Profile Information

  • Occupation
    Electrician
  • Location
    Los Angeles

Contact Methods

  • Website URL
    http://www.brooklynunderground.org
  1. Cris Moris

    535 or BL4

    Hey everyone, Its been a while since I've posted anything but I need some advice. I've been asked to shoot my first feature. Both on 35mm and 16mm. I have some questions regarding equipment and stock. Its a straight to video job and will probably never go back to film. I'm thinking 1.85 for aspect ratio. I want to shoot with all Arri cameras. I'm not sure if I should go with a 535 or a BL4. Its a thriller that takes place in two different time periods. The director wants to shoot the past in 16 and the present in 35. I tried to convince them to shoot the whole thing in 35 but its actually not an asthetic decesion but monetary. So I think super16 at 1.85 also. Ideally the S16 stuff will be shot on an sr3 or sr2. One question I have is about lenses, I want fast lenses because being low budget I doubt we'll have a genie and I think our biggest light will be a 1.2k. Its one location si the posibilty of tying in is there but I'm trying to not to get to crazy with equipment. Then there is the question of stock. I want to shoot 18 for everything and rate at 320. Maybe shoot the past on a less rich stock, but again I think this can be achieved with filtration. I know this is all very vague but I would like to hear some general comments about this. Keep in mind its my first big job so I'm a bit overwhelmed. any comments/suggestions are apreciated. thanks Cris
  2. Greetings everyone, I was wondering if anyone has any experience with shooting in Mexico? I will be gaffing a feature there possibly in February in the Yucattan. I don't know much about the project except that the G & E gear is most likely coming out of Mexico city. The DP is bringing Keys, and we will have a local crew. Its all location shooting. I guess just wanted to know if people have suggestions, dues and dont's, what's to be expected, etc... Any and all comments are greatly appreciated. Thanks
  3. I don't think you have to move out New Jersey having New York at your door step. New York is a great place to start and learn everything you need to learn. In the end you'll end up using the same language and the same tools weather you are in New York or Los Angeles or any other city for that matter. A dolly is a dolly no matter were you are. An AD is going to always have an army of assistants and PA's and will be hated on set. Anyhow, I suggest you finish your program where you are, and focus on filmmaking on your own. Take courses that deal with film theory and history, as well as some that have a technical side, and maybe some that deal with the business side. Ultimately you have to ask yourself what about film interests you and what you want to do. There are hundreds of different jobs in the industry from screenwriting to production accounting to being a driver to a carpenter, etc... Focus your energy on what interests you about the industry.
  4. If someone has a project say a feature length narrative, or a documentary for that matter. And that person hires a 40 person crew, and it takes 6 months to finish, and the final product has a theatrical release, an then video, but was shot on a video format, is it not valid to call that project a film? I guess Mike Figgis should refer to Time Code as a video. Or Soderbergh should call Full Frontal a video. What about Blair Witch Project, Super Size Me, The Weather Underground, The Star Wars Episode (yeah try to convince Lucas he didn't make a film). I think this is ridiculous and I have to agree with Mr. Mullen that the word FILM is used interchangeably to describe a motion picture and it all comes down to linguistics. I bet Noam Chomski would fine this thread amusing. I too have made films shot on my XL1, because it was what I could afford at the time. But the video format also lends it self to documentaries because you can keep the camera(s) rolling for a fraction of the cost. The process is still the same. You write script, you seek funding, you get it produced, shoot, edit, and then show it and hopefully if you are lucky get a diistribution deal.
  5. Thank you. We'll figure esomething out. Cris
  6. Hello all, Off topic sort of question: I'm working on a short next week and there is an exterior shot where a car is smoking. Right now, we have a rosco spoke machine which will be from the inside of the vehicle and will have a hose the goes to the bottom of the car. Does anyone have any simpler suggestions? We dont have money for SFX guy and do not want to CGI it? Could use all the advice in the world. Cris
  7. Hello all, Keep an eye on this guy. I had the pleasure of working with him on a short in New York. He has a very good eye and does some wonderful work. When I saw some of the dalies I was blown away because when we were on set I thought to myself: what is this guy doing? Of course I was working as a set dresser wo I couldn't really talk to him. He did Before Night Falls, which I recently saw. Very beautifully shot. Some second unit stuff on 21 Grams, and a few episodes of Deadwood. Anyway anyone else have opinions of his work?
  8. Alex, If this is your first film and the first time with the camera I suggest you continue testing it. Its a great camera to shoot your first project with. Make sure you have a good tripod and and even better head unless you plan on going all hand held. My suggestion for your sound is the following: Since this is your first film, I wouldn't bother with recording audion on an external device, because you will have to sinc it later which means you would have to use a slate. Synching picture and sound can be tedious and quite the headache and I'm sure you will have to synch sound at a later point down the line. Maybe your next project you can take on this. For now, you should find out what kind of audio equipment (compatable with the GL2) you can get from your High School. A shotgun MIC, with a boom pole would be a good option. Unless you have a lot of dialogue in which case you may want to mic each actor with Lavalier mics. A good pair of headphones is essential. Mostly have fun and be creative! best of luck
  9. Cris Moris

    aaton 35III

    Hello, Since we are on the topic of Mags: Is the Arri 535 mag coaxial? In fact which cameras have coaxial mags? Thanks
  10. Elise, I have to ask you do you want to be behind the camera or do you want to direct films? You can do both, but as many of us have learned not many people do both. I think everyone's advice is great. I do encourage you to take a photography class. In fact those three hundred bucks you want to spend on a video camera. I would look for a class or a workshop at your local community college or university. You will learn so much just taking a basic black and white photography class. I also think if you want to learn the inner workings of a production. Try to do some PA work. You will find out quickly if you like the world of filmmaking. And finally, I think Kris Malkiewicz's Cinematography 2nd Edition is a great book to get some basic film techniches. Keep checking in and tell us about your progress and whatever questions you may have. Good luck
  11. Hello all, This may seem weird, but does anyone know where I can download manuals or informaton for the following cameras:? ARRIFLEX: 16BL S 2C BL 3, 4, 5 -PL Mounts MITCHELL: 35mm MKII (hard front) and BNCR mount 35mm Standard NC BOLEX H16 anyhow if anyone has any information it would be helpful. Also can some explain to me what a BNCR mount is? What is the difference between PL Mount and Arri Standard Mount? Bayonet? Thanks
  12. Hello all, I got to thinking today about my options and what the best way to become a DoP is. Currently I'm trying to get work as juicer and ocasionally I gaff. A couple of years ago I was faced with the decesion of weather I wanted to go the Set Lighting route or the AC route. I chose the Set Lighting route. I chose this primarily because I think that a good DoP has to know every light and each lights characteristics. Its advantages and disadvantages. A good DoP has to be able to communicate with his/her gaffer without asking for unresonable miracles from him. However, the drawback that I have started to encounter is that I'm not all too familiar with the camera. I'm constantly reading about cameras, and trying to educate my self about each camera's pluses and minusis, but I feel like I'm light years away. So here is the question: Do I continue working as a gaffer and start shooting occasionally? Or Do I try to start ACing and work my may that way? This may have many answers and I just want some people's personal experiences... Thanks
  13. What about a Kino mounted on the dolly under/over the camera, so as the dolly pushes in the kino illuminates the subject's back. Do we ever see his/her face? The kino might not have enough output but it may give you enough to get some detail in. Just a thought.
  14. Mr. Sloan, "@Cris Moris: How about instead of the blondie into the b-board, pointing an instrument directly at his face, and the table, with the 1/4 ctb?" Sure, if its an option. But my concern is where are you going to hide such a light? Are there cubicles in this office? Its hard to determine the best way to shoot this with out a visual of the location. But anything is possible.
  15. Hey, what about: a blonde with some 1/4 ctb striking on to the beadboard when the man strikes the practical. The problem with this is controlling the spill, this may look very unatural. Or how high are the ceilings? Can you hang some thing from there? Is the ceiling in the shot? The practical can have a cool white globe in it. A flourecent bulb that screws on to a regular socket. They can be pretty bright at short distances. What about using 7246?
×
×
  • Create New...