Matt Garrett

https://vimeo.com/37069110 2012 Update

can you describe your lighting set up on that last beach set up.

Seems odd to call it a showreel as it's mostly a (pretty long) montage from one project. I'd cut that one project down to 1-2 min. of only the best clips and show that around. Way ahead of the curve for your age.

Douglas, It's almost all Red. Trying to sneak in some film and Alexa projects. Thanks Joe.

Would love to hear your thoughts.

Just used Cedric on a spec. Very good operator with very good instincts. Looks good! I'm jealous that you could get a music video to actually shoot film. and anamorphic!

Like the design a lot. I've never personally liked flash embedded videos, but I think that's my personal beef. You're resume takes you away from your site though. You should have it to where it opens in a new window instead of taking over the window you're currently in. I feel like having just a reel up there is never enough. Maybe a work page where you show more about those projects.

Did the same thing on a spec commercial a little while ago. It can be a great look.

Can you fill me in on what a springball is?

That's what I like to hear! :) PM sent sir. Anybody else?

Seems to me that something MAGICAL may be going on in that still. Would love to hear how you lit that wide shot in the library.

I don't think the forum liked my iphone post so I'm trying again. Looking for any short s16 or 35mm projects. Trying to get more FILM projects on my reel. You can view my work at www.mattgarrettdp.com I also have an Aaton XTR I can throw in too.

Your wides are gorgeous. I wish there were more of them.

125/day in la http://houseofsmooth.com/equipmentmenu.html

if you need lightweight the red zooms are not bad. The reviews your heard are pretty spot on but in some situations they might be the best lens for the job. There is also a 25-80 T3.4 Ekran zoom I used on the red for a documentary for Disney with lovely results. Great zoom for handheld and steadicam. Fast, lightweight and covering the wide end is a hard combo though.

used a set on a red music video a year ago. Only got three lenses that matched really well from slow motion inc in l.a. Probably the same place as Tom. Here are some stills

He was very serious. Good doing buisness with you Tim. Can't wait to tak her for a test run.

My thoughts are Good Luck! From what I've seen/read/experienced this is a big issue facing cinematographers right now. Especially if you're moving onto bigger projects, the studios do not want to set a standard for paying DP's for sitting in on the timing. Also, what happens when you're booked on another show when they want to start?

Hulu does do a percentage to the filmmakers but it is VERY VERY small. Unless you're getting views like "the Office" it's not really worth it until there is nothing left for the project.

DO WANT...

Post some stills if you can. Would love to see.

some shots had grain added. some shots are just noisy from being pushed. The Japan short is called "on the branch it shook" and is still in post.

Recently shot through an old iraq scope with a close focusing zeiss standard speed. One thing for sure is you will be losing a lot of light capturing the image through the scope.

Thanks everyone. Compression is just H264 out of FCP. Nothing fancy.

http://www.mushyproductions.com/reel/reel.mov Thanks for taking a look. All stuff shot in the last year and a half. All shot on red. One of these days I'll convince them to let me shoot film.