Daniel Ainsworth

Thanks for the feedback

I've had similar thoughts. No I don't have the rights, It's temporary for a few more days while I re-edit.

Take care,

-Daniel

I just updated my cinematography reel. I was curious of the feel and general reactions.

www.danielainsworth.com

Thanks a bunch, for any critique.

Take it easy everyone,

-Daniel

Thanks for the feedback.

I know I had a little more problem with the bottle kickers, than reflections, also. =/

Great to hear from you Cronin, take it easy,

-Daniel

Just finished this. First time shooting on the Red. What do you all think? Comments Concerns? Appreciate it, Thanks.

http://www.dainsworth.com/Daniel_Ainsworth...pher/cooks.html

take it easy,

-Daniel

Thanks for the advice.

I agree, I feel I have learned so much on set at school, cause I done PD, to Booming, To ACing to Gaffing.

Pigeon holing came up, just cause, I am mostly referring to working for the days, to get into either department's union. I would like to take either camera or lighting jobs, when i can get them. I realize now my posts have not focused to much on the unions, and the paths up them. So that is what I am also curious about, same debate, but in the unions.

Thanks again,

-daniel

Absolutely,

I try to shoot whatever I can, when I can, to build my DP reel. Its funny how, in my small experience of film school, it easy to see how far, simply saying, "I'm a DP" takes you as opposed to I wanna be a gaffer, etc. You get pigeon holed quick.

I was debating about the departments, which allows for the most experience to gain, and then take that exp. to set when you DP? Or in all of your experience, which department do you trust more to take on a DP gig? He's a DP who worked up lighting, or DP or works up camera. I ask that since I worry about the climb, and getting lost in the mix, ?

Just concerns that I have internally discussed.

Thanks again for any feedback.

-Daniel

"Camera or Lighting?" That is the question.

I am about to graduate, and would love to hear the opinion of a larger audience. I've worked my fair share in the bizz, for my age and experience, and have spoken with many people. I've gotten feedback and suggestions, about which path to take to lead to Cinematographer.

Do I juice or AC? 600 or 728? At school I established my self mostly as a DP who worked up through lighting. I AC'd plenty and honestly that established confidence, having experience in both fields. I love to light, and learn new techniques, but I am a sucker for composition, and working with camera's and lenses to make the most of a shot.

Is it worth it more to place yourself close to the camera, whenever possible, instead of being outback wrapping camlock? Or does painting with light take you further? On your way up, gaining knowledge from the DP your working with, in camera or lighting?

Just curious of feedback, and hoping a discussion involves, to see pro and con's. Throw out any relevant information, situations. (point of view of a beginner fresh out of film school, in LA)

Thank you much for taking the time to read and respond.

-Daniel

Oh Sigur Ros, very good band, but I agree perhaps not the "right," song for the reel.

As for the reel itself, I felt like I saw a bit too much football stuff, and some of it was amazing, and some kinda so so (some of the night shots just seem to fall off into darkness too quickly for my tastes). But all in all a good reel, but like almost all reels, could use a bit more tightening.

As for the site, works well for me, but I have one comment you might want to think about for the resume. . .

While it's perfectly valid to have it listed by format, e.g. feature/short etc, I just found it a bit confusing. It might be best to separate it, given how much work you have into Editor/DP/ and Cam/Elec Dept and then just go chronologically with say Film X, Short Film, Director of Photography, DVCam, 2005. Might just be a bit easier to navigate through for potential people to hire you (e.g. if they're looking for an AC they won't muddle through as many non AC credits, same for DP, or Key Grip).

 

Love the layout and colors of the site, though; elegant and minimalist.

Thanks a bunch. Great Feedback, A new reel is in the works and ditto for helpful website hints. Sadly the website response isn't the same on all browsers, but decent.

-Daniel

http://www.dainsworth.com/Daniel_Ainsworth...matography.html

Hello all,

This is an updated reel. I was curious of any feedback. Also does the website act smoothly for you? If not what was a complaint?

Thanks, have a good afternoon,

-Daniel

http://www.dainsworth.com/Daniel_Ainsworth...matography.html

What do you think of the new reel? honesty appreciated =)

Also how does the website operate for you? I am trying to keep running smooth for any visitor.

Thanks a bunch,

-Daniel

Thanks for the good tips. Great article also.

-Daniel

Hello all,

I am DP'ing a short on S16mm film and I had a few questions, or hoping for some tips, tips for shooting on a football field at night. The general mood is similar to that of a Gatorade commercial.

Story: A players psyches himself up for an upcoming game. So On the field, we are trying to simulate a dream like, or a visual experience, scene where the player tries multiple times to make a play, thwarted but in the end finally succeeds.

My lighting package-ish:

500 amp generator

10K Big Eye

2x 5k's fresnels

2x Mightys

limited hmi's (1.2 or Jokers)

and so on with smaller tungs...

12 / 8 / 6 by frames of grid / muslin / solids.

We do have Field lighting, 4 corner typical stadium style lighting. But the lights can only be active for a few hours, due to city regulations.

questions:

-Should I try to mix my Tungsten package with say wides or masters in the Stadium lighting, or try all together use my lights?

-Any tips on basic setups?

-What would you do in this situation?

(a player running making various plays progressing down the field)

-possibly an idea for a unique look?

Any tips/ideas would be greatly appreciated. This type of shooting is unfamiliar to me at this point. Thanks a bunch, enjoy your day.

-Daniel

http://www.dainsworth.com/Daniel_Ainsworth...matography.html

re-compressed, for streaming. sorry guys.

-daniel

Hey man nice site. I worked with you on the "piano" project, you key griped for me. Not sure if you remember. Anyway your site looks nice, cant get the reels to load though....might be something on my end.

 

Marc

Thanks alot, of course I remember.

Sorry, I am going to change the compression in the next day or two. I think you just have to sit and let it download for a bit.

-Daniel

Hey all,

First Posting.

I am a Junior film student and Loyola Marymount in Los Angeles.

I am gearing up for two Super16 shoots this semester, and was curious what some people think of my limited selection of work that I have, since I am starting up.

I am happy with how my website has come out through .mac. Sadly buttons and such don't stay in cache:

www.dainsworth.com

basic reel:

http://www.dainsworth.com/Daniel_Ainsworth...matography.html

(the file is a 10 meg ish, firefox tends to wait for the whole file to download before playing. I'm trying the figure the best way to compress, etc.)

Any feedback on my website, photography, or reel would be appreciated. Tips? Anything not do it for you?

Have a good day everyone,

-Daniel

Yip,

 

the type of bulb is called a 'flashlight bulb' - its the voltage that causes the flicker

der, forgot about that, thanks.

Kinos are included thank you as well. I didn't realize they were designed to be placed underwater? From experience if light needs to travel from above to say a 4ft shallow end of a pool, at night, would 2ks be enough, or should I be using much more. I am just unsure about how much the water will cause the light to dissipate.

I know when you shock a swimming pool with chlorine that would cause a murky look for a little bit.

Hello,

I will be gaffing a short film in the upcoming months and I had a few questions. There will be an underwater scene. A young girl swims to a treasure chest. Any suggestions about how to light a scene underwater, (murky water in order to see light beams). We won't have underwater lights. Besides that our package is pretty extensive.

Another shot requires a dying flashlight on a table. We wanted the flashlight to be facing open toward camera, so we can see the source flickering and dying, I have been trying to look, but do they create bulbs that flicker in such a way. Any ideas?

Thank you.

-Daniel

but both of these stocks are good for pretty much "any" situation unless you really plan to shoot in low lighting conditions.

Just curious, why would these stocks 200t and 250D be unreliable in low lighting situations, in the scenario above specified? Also what would be recommended in that situation?