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Tristan Noelle

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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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  • Website URL
    http://tristannoelle.com

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  1. 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
  2. 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
  3. 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.
  4. The “Bright Lights, Big City” special edition DVD has a solo commentary by Gordon Willis that is very informative and typically salty.
  5. https://www.vulture.com/2021/03/zack-snyder-explains-justice-leagues-first-cow-connection.html I think the likely answer to why 4:3 is because Zack Snyder had just watched “First Cow” by Kelly Reichardt (an “Art Film”, incidentally) and thought “dude, my film is art too”. BTW, check out “First Cow”, it’s a delightful anti-western. Highly recommend. Has Fabian Wagner commented on the change? Tristan
  6. If I recall correctly... ”Young Sherlock Holmes” (1985) - First CGI character, or something like it, with the Stained Glass Knight. “Willow” (1988) - First digital morph effect.
  7. The apple boxes and high hat may work provided you have solid places to secure the ratchets. When you have to place some boxes on the seat, you are always fighting the cushioning. But it may be “good enough” and will provide enough steady action to give the editor something to work with. Again, I highly advise scouting for smooth roads. Best of luck.
  8. First, I’d strongly recommend reaching out to a key grip with some experience in vehicle rigging. If you cant guarantee the safety of the gear and the crew/talent, you shouldn’t attempt the shot. If production won’t pay to do it right, with experienced crew and proper gear, you have to put your foot down. That said, I would not trust that Matthews tray with 40lbs. The 2 6” suctions and the little wedge in the window will have a hard time dealing with the momentum that 40lbs bouncing around could produce. It’s meant for light, minimal builds. Can you strip down the camera body, remove ba
  9. I use Sharegrid in LA all the time for gear. Rented a Red Gemini not too long ago. When you pay for their coverage, you don’t have to provide a deposit. The individual renter may not approve the rental if you have no history, though, because rental fraud and the “voluntary parting” loophole are a problem. There are rental houses on Sharegrid which are an option too. Also, short term production equipment insurance isn’t terribly pricey; do a quick look at insuremyequipment.com. If you plan on a lot of producing, look at a yearly policy. Tristan
  10. Unique is a moving target, and often a Luxury. Kaminski has a very unique eye and a style that is always apparent, but not mimicked or in demand, apparently. But Spielberg likes it and that’s what matters. I don't know anyone who would shoot something that looks like “Crystal Skull” intentionally. Deakins is uniquely talented. He openly posts his setups because you can copy something he did but you can’t “think” like him. And that’s what you’re paying for to get Deakins and why he’s “irreplaceable”. I’ve been gaffing for a DP who’s so good and so specific, he’s just transitioned
  11. Well it’s a multi-faceted answer really. Ideally, of course, proper testing of all aspects should be done. And thats a drum I beat a lot myself, believe me. It really just comes down to time and money. This is a short passion project I’m doing pro-bono with a friend. We have a small window to make the project because the director starts a full time position next month, and this has been a crazy summer of travel/work for me, so scheduling testing and getting the results was too difficult to make happen; I can’t take time off to do them. The location scout and photo boards on DoubleX
  12. Thanks for the insight, David. That makes a lot of sense. In my limited tests, the shots with a full range of tones popped more. I’ll actively keep it in mind.
  13. Thanks for the response, guys. I’ll expose as recommended. I did our photo boards with Cinestill Double-X 35mm in my Nikon F5, and our highlights outside the window at the location we’re 4+ stops over and were barely there, but still looked pretty good.
  14. Hello, I’m shooting a short film in a few weeks that’s mixing 7219 and 7222 (Double-X Black & White). I know overexposing color negative will generally result in a tighter grain pattern, but I recall hearing that overexposing black and white has no affect on grainy-ness; that it performs best when exposed as rated. Am I imagining this or does that sound correct? I want a pretty crisp look for the the scenes on 7222 and want to know the best course. Thanks! Tristan Noelle
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