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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 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.
  2. 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 batteries, use a lightweight prime? Or rent a Blackmagic 4k on Sharegrid for like $100 just for that shot? To do 40lbs you’d want a real Hostess tray. To rent vehicle rigging equipment from a rental house, you’ll need liability insurance, and you’d need a grip to set it up. And the window has to be down... For the hard mount inside, there’s not a really good solution that doesn’t involve taking out the seats and anchoring to the body, but it depends on the car. I usually resign to doing handheld or being on a monopod, smooth streets help a lot. You can suction mount a small camera to the windows, but they can be unstable without enough anchor points. Sorry I don’t have easy answers, but it’s a specialized field and mistakes can be very costly and dangerous.
  3. 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
  4. 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 to directing because he can more fully impose what he wants to do on a project and make the visuals work with the story more completely than he could as a DP. Honestly, unless you work with a very good, successful director who will fight for you as a DP, It’s impossible to get to an irreplaceable status. I may be misremembering, but IIRC Matt Libatique at a Cinematographer’s round table one year, looked at Deakins, Phister, et al and said “Look, we’re all here because of one director.” In the meantime, be agreeable, work hard, test and experiment, and make solid relationships with directors. Tristan
  5. 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 35mm was a compromise in that regard, and were very informative. Also money is short, as always. Were this a feature or something more well funded, I’d test as one ought to. Given the limitations of this project, we do what we can. At the end of the day, I know I can ‘trust’ the negative to give me a good image if I treat it right. And the insight from the members here has helped understand how to do that.
  6. 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.
  7. 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.
  8. 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
  9. 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.
  10. 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...
  11. 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.
  12. 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.
  13. 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
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