Ashley Barron

Where did you build your chops and understanding of lighting? - short films? - crewing? - watching movies? - practicing in your own time? - asking/watching experienced Cinematographers? - all of the above?

Hi all, I used to always think that the DSLRs should be used for what they're made for - stills. After recently shooting on a 7D and seeing results on the SCCE test, I have started to wonder otherwise. The 5DMKII and the 1D are still, in my opinion, not for purposes other than stills. Does anyone there have any thoughts on the 7D for a feature film intended for digital projection? I understand there is the rolling shutter issues, as well as the h.264 shooting codec. With the ProRes transcoding, can the codec be useable? Projection issues? Any thoughts would be highly appreciated as I'm trying to figure out a format for my feature and right now the options are 7D, RED One MX, or F3.. Help!

Hi there, 1. Has anyone had experience in using a projector to project images onto someone underwater. Any tricks or techniques to do this? I was looking at doing so through a window into the pool, rather than actually putting a projector underwater. 2. Doing wet for dry, but wanting to make the projected images appear as though going through water onto the subject. Any thoughts as to how to make it believable? Any suggestions would be greatly appreciated! Thank you!!

Hi everyone, I am to shoot an actress tomorrow who hired me specifically to make her look good. I observed her on a separate shoot today and her bags are very hard to hide without awkward lighting that breaks the story. She also has some distinct acne scars that are reduced by make-up but are still there. I'm shooting on an EX3, and I have a lens light so I will use that on CUs, and use large soft source more frontal. Make-up will help-ish, although the artist isn't the best. So I wonder, anyone work with an actress with intense bags under her eyes? And shooting a woman with bumps and scars digitally and still make her look good?? Any tips would be wonderful! Cheers!

Hello! I need to find out what gel is being used in this scene and on what fixture. I have applied Rosco Red to both a fluoro and a 1k Baby but both results are very red on the skin tones. This reference feels more pleasant on the skin tones. Any suggestions would be great!

Hello all, I have a shoot on a set that is being built, and while that is still in progress, I am trying to figure out how to light it. The link below shows the cold, empty, melancholy look I am going for. Also similar to that of the interiors in "The Road". I have been told that fluorescents are the way to go in such a situation, but I wanted to see what tips others could provide. Thank you for your time! http://bohemianhellhole.typepad.com/photos...7/pink_room.gif

Nobody knows??

Yeah I've read that one and he only really talks about the special effects, rather than how hit lit Izzy..

Hello, Does anyone know where I could find any interview where Matthew Libatique discusses his approach to lighting Izzy in "The Fountain", where she is in the golden ethereal light and her face is front lit and overexposed (or is that basically it?). Any suggestions would be greatly appreciated. Thank you, Ash.

Hello to all, I remember hearing that the lighting designers on the Oprah Winfrey Show had some specific light and gel combinations and effects to achieve that flat, 'beauty'/'flawless' look on Oprah and her guests.. Does anyone know what they actually do? Any thoughts would be appreciated. Thanks, Ashley.

Hi there, I am shooting a scene on 7285 100D Reversal that will be Cross Processed. I have not had time to test and am going off other peoples' experiences and various articles written on the topic. Many of these sources contradict one another. I have been told that the range is approx. 2 stops over and 2-3 stops under. However, looking at the article on the Camera Guild wesbite, the range seems even less so, especially for the Green emulsion. The article also states that the Red emulsion has 8 stops of range, but according to the LAD curve, it doesn't appear to have any more than 3.5 stops.. In addition, I have researched into a couple of tests where one rates the '85 at EI200 for Cross Processing, while others don't make any compensations. I have been told that is better to rate it 1/3 faster to gain more density.. Finally, I am aware that Green saturates much faster than the other colors, but I am still unsure as to how to keep this in mind when shooting. Do I reduce the amount of green in the costume/production design? Is there a way of minimising the green hue that results from Cross Processing? If anyone can give me some advice on shooting with this stock and what to expect when CP'd, especially when it comes to color, that would be greatly appreciated. Cheers!

Hi there, Does anyone have any visual examples where a Gold and Silver Checkerboard was used? I am shooting all exteriors in LA and want to use that in combination with a Gryfflon as bounce source. With much appreciation, Ashley.

Hi there, Besides NDs and Grad filters for the sky, what are good filters to use when shooting exteriors? I will be shooting in LA mid-November. Most of the story is set in day, but there will be one scene in an alleyway at night. Any advice would be greatly appreciated!

Hi there, Most of my film is set on the streets of LA during the day. I am not too familiar with day exterior shoots and was wondering if anyone had any tips/advice/tricks for such situations: eg - what equipment i'd use, what to look out for, any resources/links, etc. Thanks so much, Ash.

Hi there, I will be shooting a drama that's set almost entirely EXT Day (with a EXT Night scene set in an alleyway and street). There will be an African-American male and a Caucasian woman. As I have never encountered this situation, I am looking for any advice, tricks, tips (what should I look out for, what should I keep in mind, what should I test etc.) for shooting in these situations and balancing the skin tones. Any held would be deeply appreciated. Cheers, Ash.