Jump to content

DavidSloan

Basic Member
  • Posts

    12
  • Joined

  • Last visited

  1. This is an interesting post. I think that instead of asking yourself which is the better road to take, you should ask yourself which job you are more tempramentally inclined, towards. Personally, I don't like gaffing much because of the back breaking work. And AC turns me off because there is no way to leave a personal thumbprint on the film. Right now, I am inclined to direct my own films, and to DP others. I learn a lot by reading books, watching films, stills, and speaking with cinematographers. Let's face it, if you have the talent to become a DP, it doesn't matter what road you take, you will get there. Just my 2 cents.
  2. Thanks a lot. Wendell! That was a great interview. That guy is really something. I'm watching Black Hawk Down and my jaw is on the floor! :o
  3. Thank you, David. I was wondering, could you explain to me what you mean by: "crushing the blacks?" Also, I know that you wrote a very detailed article on Northfork, for AC. Do you by any chance have a link for it? Thanks again.
  4. Has anyone seen this episode, from the Dekalogue? It has an eerie, sickly green tint and a black halo effect. If anyone has any info on how Idziak achieved this look, please tell us! Thanks.
  5. That's very interesting, David. I will be directing my thesis film this winter, and I am seeking that look, myself. Of course I cannot afford it. Have you ever seen Tarkovsky's The Sacrifice? It was shot by Sven Nykvist and there are portions in the film that are extremely desaturated! It looks absolutely stunning. I would really like to know what was done on that film. If you've seen it please let me know. Thanks! B)
  6. I'm sorry Cris, I think you misunderstood. His face is to the camera, his back is to the huge windows behind him. @Michael: What you are saying makes sense, I will speak to the director about this. Maybe we don't need a perfect exposure of his face, perhaps the director will be happy with a darker, slightly underexposed look. I can't believe how many possibilities exist in one damn office scene! lol BDI :ph34r:
  7. @Michael: yes his back is to the window; I apologize for not specifically articulating that. The side-lit angle sounds nice, but the director was very specific about the frame...otherwise I might have opted for what you suggested, right off the bat. Thank you for your thoughtful comment, though.
  8. @David: I love your suggestion of shooting tungsten and not correcting the daylight. That never even crossed my mind. If I get a stock test that will definitely be one of the things I test. I also think you're right about turning on a practical with a brightly lit background-it just doesn't make sense. Right now I'm thinking about NDing the window while aiming for it to be two stops hotter then the subject. I then want to let the uncorrected daylight come in. My actor's key will be an instrument with 1/4 CTO on it, who's purpose it will be to simulate a practical that is sitting on his table. What do you guys think? @Carlos-I love your suggestion of the Haze, too. But I'm seriously thinking that I don't want that extremely bright window anymore. Wow this board beats any book! Thanks guys.
  9. Hey, Carlos. I was aware of RGB, but I was wondering if I can just purchase a roll of say, Fuji ISO 50, at the local photo store and use that. Would that that roll give me some results that will steer me in the right direction or must I go for the RGB? Thanks. B)
  10. Fstop-having him look into the window is an interesting suggestion that I will take into consideration. My question to you is: why that is any less "on cue" than striking a practical? Also, when is striking a practical on film not "on cue?" What is not "on cue" in a film, period? As far as the deeper underlying meaning of the scene is concerned, me feelings are that it's purely subjective. Right now I want to know what I can do, practically speaking. Once I know what can be done I will assess if it is right for the character's motivation, but thank you for taking that into account. @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? My concern with the 7246 is that I might have to ND. @David-Can I shoot lighting tests with any film stock that has the same ISO, or do I need to special order the still camera stock version of the 7245? Thanks a lot guys!
  11. Hey David: I figured that the little bit of orange light from the practical will be fine...do you think it might be distracting? If the windows are extremely bright I'll definitely have to have a strong instrument to simulate the practical. Now that I'm thinking about it...I don't think I can do it with the practical alone considering I'm shooting 7245 with bright windows in the background. Is the idea with the b-board just plain stupid? Thank you! B)
  12. Salut, fellow cinephiles: This is my first post in your wonderful board. :) A bit about myself: I'm a 26 years old cinematography student in NY. My practical experience is limited, although I have shot a few things which have turned out well. Some of my favorite cinematographers are Sven Nykvist, Gordon Willis, Darius Khondji, and Greg Toland. My question today concerns lighting an office scene where the actor sits in front of his desk, having a phone conversation. The windows are floor to ceiling, and we will be shooting this during the day. The director's wish is to start the scene in a wide master shot, having the actor silhouetted against the window, and to dolly in while he's having his conversation so we eventually see his face. I think I will shoot 7245, for this scene. My plan, right now, is to either have a practical on the table so when the dolly reaches a certain point the actor will strike the practical. Or, another possibility is to attach a piece of b-board to the back of the dolly so as we get closer his face gradually gets filled in. I would love to hear some of your knowledgable comments, and if anyone has experienced shooting a scene like this, I'd love to hear how you went about it. Thanks a lot! B)
×
×
  • Create New...