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Tristan Noelle

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Tristan Noelle last won the day on November 11 2017

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About Tristan Noelle

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  • Birthday 04/04/1983

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  • Occupation
    Cinematographer
  • Location
    North Hollywood, CA

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    http://tristannoelle.com
  1. Im 35, so half way there. I didnt mean to sound hysterical, 70 isnt very old these days, but a lot of younger people think it is, which is the point Im making. 65 is still considered retirement age in most professions. Theres a trend with younger filmmakers to think if theyre not famous or established by 25, theyre doomed. Funnily enough, I just Key Gripped a short with 94 year old Cloris Leachman, which puts 70 in perspective.
  2. As marketing oneself as a DP becomes the norm, and is intertwined with Instagram, where its expected that you brand yourself and your style, youth becomes a natural part of it; being trendy and now. I think thats limited to a certain part of the industry and once youre in with successful collaborators, producers and directors, its not as critical. But the pressure does exist as youre entering the industry. That being said, the most energetic, fun, arguably best action film in a decade was Mad Max: Fury Road, directed by a 70 year old and shot by a 72 year old who came out of retirement to do it. Tony Scotts later work too, despite his age, was always full of energy and pushed the envelope stylistically, it didnt feel old or out of touch. There are plenty of examples that show that youth is unrelated to modern style. While most young DPs I know bend over backward to shoot anamorphic and with vintage glass to get a legitimate retro look, established DPs seem to push the envelope stylistically; for good or ill, they take chances. Bradford Young or Kaminski, for example. At the end of the day, age isnt something you can control anyway, neither is the stigma associated with it. So buy some just for men and some tight fitting jeans and carry on...
  3. A lot depends on who youre looking to impress. I did a few features with a production group that had the idea if you could pull off even a modest film with almost no money or crew, future investors would be impressed. It didnt work out. At the end of the day, people are impressed with success, they dont really care under what circumstances the film was made, so long as it gets noticed. It has to be good first. Ive worked on a lot of things where Im a one man band and the director is helping me put up lights, the producer is doing sound, and all the gear is borrowed. But Ill only do them if I think the project itself has merit and can lead to something. The warnings about lowering the bar all around, driving up expectations and driving down costs, are real. Often youre put in a position (usualy by the company who put in the lowest bid on the music video) where you dont have the resources to do the job safety, or do it in the first place. Every minor problem becomes an emergency because theres no money to solve it because worked out fine last time.
  4. In most cases youd use a stirrup to come down from a grid but that would be too much weight for your rig. I would simply do a 40 c-stand arm from a baby grid clamp and come straight down from the pipe, it should get you close enough. Id avoid anything that torques on the spreader pipe too much. Also you may want to put in the 10 sections as needed to keep weight down overall. Consider 8, if the room is exactly 10 long then a piece of pipe that length could be tough to maneuver in there. When you do have the option to light from a floor, Id do that, as spreaders can be fickle and it looks like there are no places to safety the rig to.
  5. Have you thought about just putting a disclaimer in the doc? Something stating that the interviews were filmed in existing lighting conditions for the comfort of the subjects. I frankly found the fact that they would be sensitive to artificial lighting very informative. Obviously you can feng shui the room: put a lamp in the right spot, with a suitably colored and powerful globe, or move to a setup with a window keying them in daytime, etc. But if it goes a bit noisy and you mix color temps, It may be worth it to get better interviews. Just a thought. Tristan
  6. What comes to mind, and I havent done this myself, would be to grab the back end of the jib with a cardillini or similar and attach it to the dolly itself with an arm. Same with the front arm. Then it cant travel up and down or side to side as much.
  7. If you have a dolly grip, or key grip who will do dolly, attached, Id consult them. A good DG can make repeatable movement speed fairly reliably. I imagine theyll be match cutting the pushins? I could be wrong but with $1500, motion control seems unlikely, including the equipment and techs, etc. Id recommend a Fisher 11 with pnumatic wheels to go over whatever terrain you have. Its light enough a few guys can lift it over anything rough. Channel wheels with regular track for the push in. The standard package comes with a 3 offset to help avoid track. If you have to start way back and need the jib to avoid track (port-a-jib or similar) you can put that on the 11, but itd be cheaper with a cheeseplate doorway and speed rail mitchell column. My fear with the jib is it moving slightly if your push in or landing is too sudden as they have a lot of momentum. But it should work with smooth moves. You can also help lock in movement with a little support rigging. Wouldnt be that expensive and is very portable.
  8. Check out this handy video about choosing a light meter from Matt Workman, I found it informative. https://youtu.be/XLwU9DHNC5U
  9. You could go old school with some BCAs, 4800K incandescent. Of course, they're 250w so they get hot, and you'll need good quality practical sockets, hopefully ceramic. And while dimmable, their color will get warm quickly. Tristan
  10. You need another ratchet strap going from the back end of the arm (where your sandbag is hanging) to the base of the combo stand. You leave it loose and get the risers to the right height then ratchet the strap to place the load at the right elevation. It keeps the light from dropping. Other than that, it looks pretty good. Tristan
  11. The only concern I see with using 6 2ks as opposed to 1 12k would be that it will be a bigger hassle for crew to patch and move 6 lights; could take more time. Once the T12 is on a crank stand, itll move easily enough and one electric can adjust it. Maybe stacking 2ks on double or triple headers would make it quicker. I can imagine in a tighter space where you cant back the T12 to get full flood on your bounce, a series of 2ks would be useful, but depends on location of course. Tristan
  12. I key gripped a feature a few years ago where they used walnut shell dust in combination with a DF-50 hazer for one scene in a small room. Ill have to have to post some pictutes to link to but the particles looked cool catching a shaft of light from a 400 Jo-Leko. As to its safety, I cant say. The prop person handled it and I think it was his first gig. I didnt notice any ill effects the one day. It was more hazardous to the Red as it clogged the heatsink and made it terminally overheat a few days later; had to replace a board.
  13. I appreciate that the lowly YouTube vlogger has to do everything in their power to keep their audience engaged (you'll notice almost every single one starts their video with the same high energy "Hey, what's up?!" line). Jump cuts help the content move faster and all. But when done poorly it ends up looking like that horrifying Charlotte Rampling scene in "Stardust Memories".
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