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Tristan Noelle

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About Tristan Noelle

  • Birthday 04/04/1983

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  • Occupation
    Cinematographer
  • Location
    North Hollywood, CA

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  • Website URL
    http://tristannoelle.com

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  1. I was just looking into miniature work for a music video I have coming up. Here’s the miniature section from the American Cinematographer Manual, 8th Edition. It’s only a few pages. I’d also recommend “The Technique of Special Effects Cinematography” by Raymond Fielding. It has a good section on miniature work. I know there are people now doing really impressive miniature work online and documenting it on Vimeo and YouTube, which would be more relevant to the newer post tools we have for retiming and compositing. -Tristan
  2. Granted I’m in LA, but in April I spent a week calling around to a bunch of stores and eventually found an FX9 that had just arrived at Samy’s. Went in the same day and bought it. Also I’m still getting calls from Filmtools telling me when they have an FX9 in stock. So if you’re proactive and have your financing sorted, you may get lucky too. -Tristan
  3. Although it’s not strictly “all” in focus, they use some longer lenses in spots and some racks, John Frankenheimer’s “The Train” (1964) strikes me as almost completely sharp. It has an almost brutalist aesthetic that compliments the focus on war and machinery. Very good movie too. -Tristan
  4. Thanks for your insight, Dom, that all makes sense. The Alexa PL mount seemed solidly in place, but it was a rental so who knows. If I can get the lens serviced before I shoot again, I’ll see if that changes anything.
  5. I was doing some tests around my apartment with a Cooke 20-100 Zoom on an Alexa Mini (4K UHD 16:9) and noticed a hard vignette at the 20mm end on the frame right side. When I zoom in a little bit, the vignette becomes more of a shading which is closer to what I expected. Stopping down didn’t help (shot is at F/3.1) and playing with rear filter holder didn’t change anything. Is this related to being centered for Academy rather than Super 35? Or is it likely due to not being maintained? The lens has been sitting on a shelf for a long time, hasn’t really been serviced, but operated okay for my tests, no binding or catching, etc -Tristan
  6. Kind of looks like a Tamiya or Mini Tamiya, which are often used in RC car batteries or Paintball/Airsoft applications. Not sure though. -Tristan
  7. Looks like grip department mission creep. Could be the sunlight was changing, initially being blocked by the large frame, but then the 4x’s were needed to block hotspots that cropped up. Space or time would have made it difficult to set up a larger frame. Or they were using the diff frames as nets and flags, shading parts of the frame. All in all, hard to say. I doubt it was diagramed that way.
  8. That looks like a Chimera pancake lantern, which is kind of a flattened out jem ball. https://www.bhphotovideo.com/c/product/218652-REG/Chimera_1865_Pancake_Lantern_Softbox_with.html - Tristan
  9. There’s a few options. The Jem Ball is a good. It needs to be rigged to a gobo head and comes in several sizes. They have different diffusion options and modifiers to skirt and control them. The large ones can take a 2k mogul bulb. Also have harps to fit Joker hmis. http://www.jemlighting.com/products.html More bare bones is the lantern lock, which is a wired harp that fits regular paper lanterns. Again, needs to be rigged to a head or arm and is heavier than a traditional lantern. https://www.filmtools.com/lanternlock-24-mogul-socket.html For what it’s worth, an electric who worked on “Carol” told me that Ed Lachman had them use just regular off the shelf paper lanterns with porcelain sockets to take photoflood bulbs, often hung with wire and string, and skirted with super light black vinyl tablecloth material. He may have used actual lantern lock or similar for more control on some shots. https://www.partycity.com/black-plastic-table-cover-roll-with-slide-cutter-54in-x-126ft-924455.html I like the lightness and easy-to-hang nature of paper lanterns, so often opt for the plain ones that I can rig anywhere with my own sockets. But if you’re looking for a more controllable option and value the quality of the light over it’s simplicity, then the Jem ball is very effective. -Tristan Noelle
  10. This might be slightly paranoid, but... I think some productions will send a “Call Email” with limited info on it because one of the ways shows in production are flipped union is by forwarding call sheets to your respective hall or rep. I mean, you probably still have enough info to get them flipping it, but the call sheet gives them everything at a glance.
  11. Thanks, Adam. I do want to apologize however. After I posted I reread your initial post and realized I was kinda off on my own lighting tangent, not terribly helpful. I think you have it covered. Getting more 600D’s is a good idea, they have a lot of punch and will prob be more consistent than mixing and matching HMIs. It’s good you know the style you’re going for. You may not have to worry about negative fill very much if your key is strong enough and you have solid ratios. The shadows fall off quicker on film than modern digital. Your meter will tell you that though. FWIW I think 500T is fine, but you could also prob handle 250D with the light’s you’re getting; dealer’s choice really. Regardless, I’ve shot 7219 in full sun exteriors before and it’s doable, your situation isn’t as extreme and will be okay. Just overexpose a bit too, you’ll have the room and print down.
  12. It sounds like you could treat your train car basically like it’s in a stage, but with natural backgrounds out of the windows. Taking a spot reading of what the backgrounds are outside the window would be smart to see where key levels should be inside to keep some detail, (maybe 4 or 5 stops over max? Someone who shoots more film in extreme situations would know.) If they blow out, they do, but at least you’ll be emotionally prepared. To light the train car itself, you have options, the following are just my instincts, your mileage may vary. Ideally, ambient would be created with a soft push through windows on both sides of the car, or at least the one with most exposure to the sky, maybe giving you 2 stops or less under in the middle of the car. A few HMIs into ultra bounce would do. If you want to then add sun, you could do hmi’s at each bank of windows, hard with some warmth added or that M90 with 1/2 CTS far away hitting the side of the car, let it be at key or a little hotter (creative decision) Several smaller heads can work too, and wouldn't have to be so high and far away. Another approach would be a semi-soft push as key, like 4x4 frames of 250 in front of each bank if windows with your 1200s behind them, as if it’s skylight but more contrasty and aggressive than a general push, shaped by the windows, exposed at the shooting stop. Could possibly use skypanels or geminis if the frames are a problem in the wind. Ambience could be made inside the car with tubes and diff, maybe move it around to key side for close ups and use a bounce for return. Anyhow, a million ways to skin a cat. Trust the meter and make sure something important is exposed correctly.
  13. The other day I watched “The Hunger” with Tony Scott’s commentary, and he mentioned a distinct change that occurred prompted by Stanley Kubrick and later British commercial movement, him and Ridley included, (I’d personally include Tarkovsky and possibly David Lean as other outliers) that ended the idea that the director could be agnostic to the lighting of the film. They had shown how engrossing and engaging a very well coordinated photographic aspect could be. I forget who he mentioned specifically as the older studio type of disinterested director, maybe Robert Wise. If I put it on again, I’ll make a note of it.
  14. If I had to guess, it has to do with the actual objects you metered. Some of the envelopes(?) should read white but the meter wants them to read gray, so it gives you a recommended darker exposure. The spot/reflectance meter need to be interpreted more so than an incident reading. To my eye, you probably should have exposed at an f/2, what the gray object to the left, is reading, or taken a reading from an 18% gray card at the proper angle. Honestly, an incident reading would have prob been more helpful in this specific situation. If you haven’t read up on the zone system, it’s a good guide to interpreting spot readings. IIRC, Blaine Brown has a write up of applying the zone system specific to Cinematography in his his book, “Cinematography” by Blaine Brown. https://en.m.wikipedia.org/wiki/Zone_System -Tristan Noelle
  15. I though the focus was far too distracting. I watched it with some friends who aren’t too film literate, and they felt self described “whiplash” from it. Also, destroyed Vegas is spectacle, you want to see it. But with everything out of focus, the epic location ceases to feel like a character. Not my cup of tea. Also, look for the Larry Fong billboard, was a nice shout out.
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