DavidSloan

well if you have a lot of Kinos you can definitely give the actors a glamour look...are we thinking fashion photo style? One thing I like to do is to take 2 4ft 4bank kinos and wrap them in muslin and put them to one side of the actor as an edge light, and repeat the same on the other side. Then I'll take another 4ft 2bank wrapped in muslin and put it directly over the camera, as fill. This will make even the ugliest person, look nice.

camera, filters, lenses? :) inquiring minds want to know!

This is my new motto.

dayum...I thought I was minimal! Great stuff.

any instrument of your choice...I'll usually go with a tweenie.

Hi guys, great work! I loved the look of the video, esp the bedroom, and the parking lot. What did you have working on her in the parking lot? Btw, locations were perfect.

I respect the guy, but his films look like they were shot in 10 days with 40 setups per day.

basically any sort of diffusion filter helps in beauty shots...I really like white promist for CU of ladies. I usually use bpm for its desaturation effect. Don't forget about a large, frontal, soft source, for beauty shots. I've started using 4 4ft kinos through a 6x6 silk for a key light. Another nice setup is two 4x4 frames of 216 to either side of the camera with a kino on top of the camera...soft and fashion photo like, look.

Here you go: Shadowmaker

You're shooting in an Airport, on video, so forget about controlling the lighting. Bring a couple of Kinos for CUs, plus green gel, and a few 4x4 floppies for negative fill, and you should be good.

An interesting thing I discovered messing around, is that prosumer cameras like the XL2 and the DVX100A look great with very heavy diffusion filters. Last project, I shot on a DVX, I had a double fog filter 1, and an antique suede 1. I was also doing all kinds of funky stuff with the color temp so the footage came out really wild...I'm very pleased with it. As a matter of fact I'm beginning to shoot a mixed format short-S16mm and DVX, in 2 weeks, and my filter order is all thick diffusion filters and partial color correction filters...it's a lot of fun! :D

Hey guys, came across this, thought it might amuse you: I'm the DP, a**hole! :lol:

Stuff like that just comes with experience. When I first started shooting I had no idea how long a dolly shot would take, or a jib shot, a crane, etc...now I can pretty much come within 10 minutes of my estimations based on knowing my crew, and my past experience.

If you really want it to look good you should rent a flicker box-Magic Gadgets Shadowmaker-is my favorite. I recently did a camp fire effect by aiming 1k zips at the actors and a few 1k zips on the background...all on the shadowmaker. Came out great.

To me, this is the best way to become a "professional" DP. It's also the path that I'm taking...I shoot anything and everything that comes my way. From Thesis films to music videos. I never understood the whole, "I'm gonna work my way up the ladder," theory. I'm sure it worked for some, but I just don't see how someone is gonna say: "boy that David sure can check a gate...let's let him shoot our next feature film." Or the rental house route..."my, what a wonderful and pleasant camera check out you have provided me with, would you like to shoot my next film?" While other people "work their way up" doing 3rd electric on some crappy DVX feature, I'm building a soild reel and immersing myself in lighting.

Before Sunrise takes place in Vienna! ;) Other films that have a strong sense of location as character are Tarkovsky's: Stalker, The Crow, the first Batman film, City of God, Crooklyn, Gerry...

Hey Ram: are you the Israeli dude that shoots for Usher?

Hey dude...congrats. You're just in H.S but I can see you have potential. I liked it, a lot. Nice sound job, too.

The film Thirteen was written, or co written, by a 13 year old girl.

Got it...thanks. *jots down..."something to try in the future"*

I'm not sure I understand, Dave. You mean he shoots daylight stock, outside, and uses a huge tungsten jumbo, (allowing the color temp to go orange) to simulate a late noon look? That's pretty interesting.

Jesus Fstop...what DO you like? Camera locked on sticks with no movement, for 2 hrs?

That trailer looked great...but what an awful film concept!

I've read what's on the site...thanks. I wanted to see if some people here have actually rigged it, and if it's a time consuming process. As mentioned, location is a NYC loft so ceiling is very high-about 20ft. Conveniently, there are long, sturdy, speed rail type rods already attached across the location's ceiling. I just want to hear from some people who have practical experience rigging this thing to the ceiling with regards to time, and difficulty level.

You guys already know, I'm a kino die hard. I've never used the blanket light rigged on a ceiling before, and I have a shoot in April in a huge loft and I'd like to rig the blanket light to the ceiling for a soft ambient fill. Has anyone used it and if so how time consuming and complicated is it to rig to the ceiling? I need to know because this AD is hard core! lol Also, what' the Amperage on that baby? Thanks, a lot.