Josh Pickering

What cases are you guys and girls using these days for your Alexa Mini? I don't want to break the camera down much to pack away. And would like the case to fit in an overhead bin on airplanes. Never been found of laser cut cases either. Thanks.

Thanks for the reply guys. I feel better reading your comments. I agree that it can possibly speed things up, but also can slow other areas down, and I don't want to compromise a crappy composition on Bcam just because the producers want to move. I made the decision early this week to shoot 1 camera body. Budget constraints were a part of this decision but at the end of the day, I am 100% confident to pull off the picture with 1 camera body.

Just want to get some different explanations on shooting 2 cams or 1. I know there are some pros to shoot 2 cams, especially when shooting 20 day features with a lot of locations. What cons have you come across, and when does it absolutely pertain to shooting 2 cams vs. 1? Josh

I can't seem to upload them. Stand by.

Hi Stephen, We had the actor standing about 25 ft in front of the 20x40 greenscreen. She wasn't standing on any green, which made it difficult sometimes for wide shots. We had to go very low to get the "ankles" up shot we wanted. I am attaching pictures now. These are just jpg's that have been compressed, but nothing treated. I had 2 6K spacelights lighting the GS. They were wrapped with 1/4 CTB. I had 1 2K Mickey on each backside of her for an edge, 3/4's off back to be exact. I keyed her with a 10K Tenor through an 8x8 bleached muslin. No CTB on the 10K. Then for fill I used a Kino Diva 400 which was dimmed quite a bit, and it was full tungsten 32 bulbs.

Maybe this is a stupid question...From what I'm reading am I to CTB the lights only hitting the green screen? And the subject? I feel it's for the greenscreen only, but just making sure if I need to keep the light consistent through the shot. Thanks!

Stephen, Thanks for your reply. From what I understand, shooting 5:1 compression vs 3:1 compression has a minimal difference. I agree with shooting 640 ISO. We have 1 day prep before and will test out a few settings/lighting and will also test your recommendation. Thanks again. Shoot on!

First off, the actor will be about 25- 30ft off the screen. The GS will be 20x40 and lit with 6K space lights. No green on the floor she will be standing on. I've heard a lot of posts on sites around the web that if shooting indoor green screen on the Epic, to use daylight sources or use an 80C filter. Has anybody had any experience with this? I've just always shot tungsten lights on GS, black shade the Epic before the shoot, and white balance. My second question is: what is the best compression ratio to shoot green screen on the epic? Best Shutter, ISO, etc... Any help is greatly appreciated.

the camera is an Arri 535B. I have done some 16mm and arm familiar with the sound of film not being fed right, etc. I was honest with the DP when I talked to him today and he didn't seem to care. But you never know. I'd really like to jump in, but then again, it's a new breed for me. I look at it as a new camera I'm just learning. I don't know if that's the way to look at it, but that's how I feel. Hopefully there will be a few days before. Again, focus pulling, filter changes, marks, etc... I can handle. But you're right when you say "I would have to solve a problem 30 seconds ago", and if I didn't know how to do it, then what do you do. Thanks for the replys guys.

Hello all, I've recently been offered an opportunity on a low budget feature to 1st AC. It's 35mm and I've ACed RED and high end video projects, but never 35mm. I told the guy that I would check my schedule and get back with him. I mostly DP and camera for low budget projects. Anyways, how much different is it to AC 35 vs. RED? I am very familiar with a range of prime lenses, changing filters, putting together cameras, focus pulling, etc., but will I need to change magazines as well? Again, never worked in 35mm. I know 100% I can pull focus and turn the camera on. :lol: Thanks.

Xax, Can you explain some of the lighting setup on these pictures? Especially the stuff in the hotel room. I love knowing how different people light interiors. What kind of gear did you have at your disposal? These look amazing.

Hi all, Question, Shooting a short soon and for some of the scenes we will not have a generator, but will have a 5K light. My question is how do you tie into a breaker box to get the necessary output to power the 5K? We are trying to get a grip/electrician out to do this safely, but not sure if that will happen. Is it too difficult and dangerous? I know a little about electricity and have knowledge, but have never done this before and want to be safe about it. Thanks all.

re-posted bigger. Sorry about that.

A few more screenshots.

yeah, it was a little bit of a challenge, but the camera did great! Great in low light situations, although I tried to keep the ISO around 250-320 during daytime interior shots and at night HAD to push to 800 minimum alot of the time. The ziess primes I was using had a 1.4 opening so that helped alot. All in all, pretty happy with the result, although would love to have it shoot 24p. thanks for the replys. The stairwell shot was tricky, since it was so dark and we needed a wide shot. Christmas lights were put on the poster behind them at the top of the stairs. A china ball was hung just in front of them, above them just out of frame with a 100 watt photoflood. The rim light was achieved by having bead board directy overhead them with an Arri 650 bouncing.

Just ended my first feature film. Shot on the Canon 5D Mark II, and a set of Ziess primes. Lighting was full Arri tungsten 300 - 2K's. Cinepar 200 HMI's and a 1200 HMI. Here are a few screengrabs. Enjoy. More to come soon. P.S. having trouble uploading, don't know why they're so small. Sorry

China balls work wonders huh? I have never been without them. Great job. I really like your eye.

Rob, I know I am late to your post. I was searching around this site and came across your post. I'm a DP/Gaffer/Camera Operator with equipment here in Dallas. Contact me with any other jobs. Check out www.theapparat.com for my work. Thanks alot. Josh

Hello all, I recently had the pleasure of working with Sony/Redrock Micro to shoot this music video. Sony contacted Redrock Micro to shoot some demo footage for NAB. They sent an XDCAM EX1 and we outfitted it with the Redrock gear: M2 adapter, shoulder mount, follow focus, and mattebox. We shot Nikon mount Ziess lenses: 28, 25, 50, 85. Lighting was Arri for fill. We wired up 75 60watt bubls in the center of the room, which measured out to be 4K worth of light. I was very pleased on the way this video turned out. The Redrock gear worked amazing and the EX1 is a superb camera. let me know what you guys think. http://vimeo.com/4203443

Hi Rod, Thanks for the comment. In the room where the guy was looking out the window was all natural light. When we switched rooms via the dolly to the girl singing, she was lit with a 2 ft. 4 bank kino flo using daylight balanced bulbs. The light was positioned just above the camera once the dolly entered the room and came to rest. I love kino flo's. Every shoot I want to make sure I have a set. Thanks for the comment Rod. Josh

Hey guys, Shot my first music video about 3 weeks ago and it's finally up on temp site so the band could look at it and give feedback. The band is Addison Road and they are amazing. Their song, Hope Now, has really taken off for them on a lot of radio stations across the US. I was really glad to be able to shoot it for them. Technical notes. Shot the video on the Panasonic HVX-200 with the Letus Extreme, and a 3 Nikon primes...24mm, 50mm, 85mm. Shot in 720, 24PN...some shots were overcranked to 60fps. Grip and Lighting came from MP&E in Dallas, TX (www.mayovideo.com). I would fully recommend their trucks and service. We had a 1 ton truck with all tungsten, kino flo, a 1.2 HMI, genny, track and dolly. We shot in Tehuacana, TX at the sight of the original Trinity University back in the late 1800's. The building was amazing, completely old and worn down. This location really fit the band and their song. We shot from 6 a.m. to 1 a.m. with about a 3 hour break on a Saturday, and then a half day on Sunday. Our crew consisted of a director, 4 grips and myself. I would have loved having 4 more helpers on this set, but then I wouldn't have gotten a lot of exercise. :) The building was a 4 story building with no elevator. We shot on 3 of the levels and had to move equipment by foot. This was annoying. All in all, I had a ton of fun on this shoot and I really enjoyed shooting a music video. I am very pleased at the way the video came and working with the band was awesome. The link is Addison Road Hope Now Music Video. It's in an H.264 codec. Please let me know what you guys think. Thanks alot.

Isn't the EX-1 a beautiful camera? I love it!!!! Great shots.

Thank you Michael and Josh for the comments. I hope to have some footage up on a site soon. I will continue to post some stills and set photos.

Thank you very much Bill, that's my favorite as well. Michael, I've been doing cinematography now for about a year. I've always been interested in it. I watch films and pause them and try to break down the lighting setups within the scene. Right now I'm a producer at a production company in Dallas, TX. How long have you been doing cinematography?

.