Jesse Cairnie

i some how didnt see your post right before my last... wierd.. anyway.. Yes.. the idea of our indepth research here is to make a film on a 1:1 or .9:1 (as we are not french and it is not 1958) N.V. film.. this script is a love story of vibrant youth with an excited view on the world, love and life only for everything to go to hell (ala Jules et Jim).. the director feels that is a very N.V. ideal and wants to tell that story in its original style.. She is more interested in reaching the open-minded audiences and is "willing to take a box office hit" to express her film in its "ideal form"... We are shooting 35 on a Konvas as per then.. well, technology wise.. and Prime because its included in the package and so is a cinescope gate... It takes place 90% indoors of the house and workshop.. we would like to combine color and B&W (ala Un Homme et un Femme) with a DigiBeta for festivals with intent of a Theatrical print.. The only equipment we want to use "of the era" is the camera and maybe an older film stock.. for that reason we could shoot digital and "make it in post".. but i am never happy with results of the "make it look like film" using digital footage.. it always looks forced and cheezy (maybe my technique is poor).. but if we shoot 35 and then do some digital "aging".. that might be cool.. but then again.. we dont want to get too carried away and make it look like we found film in a vault somewhere.. but then that might mean we did a good job.. who knows.. We are definitely ready for all of the technical planning that is going to need to go into this for the N.V. feel.. I talked to her about sound and she wants to have a recordist.. but is not going to go full bore and get a "production sound mixer and Boom Op" more to just have a sound reference for each take and incase of ad lib... then we can ADR it all in post.. Thanks again for all of your help.. I feel like im going to be a Nouvelle Vague expert now.. I'll keep everyone posted..

-NOOO!!! MY DREAMS.. SMASHED YET AGAIN!!! HAHAA!! -Dont tell the Nouvelle Vague Police that Im gonna shoot it on a Konvas.. it wont get accepted to Cannes for sure.. hahaa -But seriously Michael that quote from the book is PERFECT... exactly answers my question.. and I think James "clouding this post" has given me good insight.. thank you James.. So we have Content, Editing, Sound, Camera, Philosophical, Verite vs Nouvelle Vague, Directors, Movies, Cinematographers and History.. thank you everyone for all of this information.. now for Lighting... What Ive gathered from Michaels book quote is that "Nouvelle Vague" is the bastard child of "Neo-Realist" and "Cinema Verite" aka "Rosellini and Rouch" (who says men cant have children together..) Which from my mathematical deductions.. Means "a properly lit 'documentary' with the occasional 'Movie Light', but mostly using bounce boards/cards and small unobtrusive 'grip' devices to control the lighting" and from the "but also 'tradition of quality' production norms." I gather they weren't too concerned with pushing/pulling the stock for a "specific feel" and as for lenses they used one of the three that were on the turret.. and the occasional "specific feeling" lens per the director.. with its "semi neo-political" undertones and its "typically un-cliched" stories.. and a Mise en Scene specific to each Director aka "Auteur".. Id say I have officially grasped the basic concept of "Nouvelle Vague" and its techinque.. With that its time to go shoot some test footage.. I'll keep you posted.. Thank you all..

My original idea was to have a few of you experts on Nouvelle Vague possibly explain some of the lighting techniques you might know from your apparent passion for the era.. exposure techniques, film manipulation, soft/hard light theories etc.. but it seems a "philosophical debate" ensued.. fine by me.. the more insight the better.. but maybe I can wrangle everyone back on track.. The director and I just watched Jules et Jim, 400 blows and A man and A woman.. not many no.. but.. the director and I both agree that "A Man and a Woman" best suited the vein of her vision.. might anyone have any specifics to the making of that film? Cameras, lights, stocks, theories, etc..? Might anyone recommend a film similar in style to "A Man and a Woman?" Also Ive been reading about the Cameflex camera and it seems that it is a very noisy (60db) camera.. with the "on location", "minimal" equipment theory and a noisy camera.. were Nouvelle Vague films shot with location sound? or even scrapped and ADR'd in post?

Ok.. Here is the original.. as for set up.. (2) 800ws behind the band (and the pillars observe the stand).. (1) 400ws with Chimera for the key.. 1/2000 at f4 and ISO200... so much for my secret.. hahaa.. enjoy Note.. This was about 3 hours of photoshop to make work.. far more involved than I anticipated.. assumed it was a "plug n' play".. Enjoy

OK.. John Cassavettes, Coutard, Jules et Jim, Bande a part, A bout de souffle, Dogme '95, Cashiers du Cinema magazine articles and Auteur theory That should set me on the right track.. Thank You Also is it true that "French New Wave" was all in B&W.. was it 8 or 16mm? 35 seems too "Un-New Wave".. Cheers!

Today I met with a director about her next project and she wants to shoot it "French New Wave".. From our chat I learned that this "New Wave" was basically "French Indie Film".. So my question is.. is there a "New Wave Technique"?.. I mean, we chatted about its mostly hand held with almost all available light and really long takes, but I feel like im missing something here as thats EXACTLY how I shot "my first indie" with me and my buddies in the streets of Seattle.. There must be more to it.. any info will be greatly appreciated.. I mean I can google it all day long.. but some real insight would be great.. Cheers! Jesse

Thank you! Ya, we did a bunch of publicity "Promo lighting" shots earlier that day. The ones i did in this style are the "look at how cool our band is" photos They are a Heavy Metal band so "The Tougher, The Better" hahaa!!

OK.. finally got my photos finished from the band shoot.. took a stab at the whole HDR software.. i have to say it turned out well.. I shot this in a warehouse in Seattle, Its a single RAW file, not much a "multiple exposures" person.. Im pretty stoked at the textures, as thats what initially turned me on to the "HDR" Thanks again for the help.. Jesse

I just saw a movie by the name of "Night Watch".. a Russian Scifi Fantasy Vampire movie.. It was a very clever spin on the same ol vampire story.. and was beautifully shot by Sergei Trofimov.. does anybody know more about him? Thank you

Thanks for that Jonathan.. I had a sneeking suspicion of the major post work.. Thanks to all of your guys' valuable information. . and an entire days research.. I've scheduled a photo shoot with a band for the 17th and will post the results of my attempt.. Cheers!

I stumbled upon this photo.. Any ideas of what light(s) this might be.. (if its a flash.. please.. some one slap me) Guesses, theories, I was there when he shot its, I shot a picture exactly like this onces.. they all help.. Cheers!

Robert Benavides Steve Yedlin

How to become a Cinematographer in 5 steps.. 1. Get lots of books and read them.. 2. Get a light meter and use it.. 3. Get a camera and shoot LOTS of footage.. 4. Pray that people like your footage enough to ask you to shoot more (and hopefully pay you).. 5. Spend the rest of your life asking and analyzing with the intent of learning something new.. Success is a by product of your diligence and dedication.. anyone can do it.. doing it well.. that IS the hard part..