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Diana Matos

Basic Member
  • Posts

    11
  • Joined

  • Last visited

Profile Information

  • Occupation
    Cinematographer
  • Location
    Brooklyn, New York
  • My Gear
    Arri Alexa EV

Contact Methods

  • Website URL
    http://dianamatosdp.com
  1. Hi Mathew, I would reach out to a different office and try different reps until you get the answers you need. I joined by taking the test in NY, so I'm not sure what the process is like to join otherwise, but that's what I would do! -Diana
  2. Hi Bill, Thank you for posting this as it has been very helpful for someone who is considering taking it. A couple of questions, is there any part of the class that allows you to put what you've learned into practice supervised by the cinematographer teaching? Did you learn anything having to deal with business (i.e. your contract, relationship with a director/producers)? Also, do you feel that the master class led you to more work? Thanks for your time! Diana
  3. Hello, I have a general idea of how this is done but I wanted to brush up on the specifics. I am shooting an old tube-style CRT on a dolly and would like to make sure I can composite an image onto it. Is using key-green tape sufficient? Now a days, do the markings on the TV need to be precise? Does the camera movement destabilize the image? Thank you for your help! Diana Matos
  4. Hello Everyone, I was hired to AC for the first time on the Red in a few days and I'm sure you all could provide some helpful insight. I'd like to know what, specifically related to this camera, I should read before I start. Any experiences you could share? Thanks!
  5. I've been working camera rental lately, but I would love to work on set again. I live in Miami, so driving up would be simple. Collaborating with other Floridians would be great- my email is dianaalexandramatos@yahoo.com
  6. Thanks for your help, Walter. What should I do in the case that I am asked for a resume- should I provide a list consisting only of the little professional credits I have earned? Diana
  7. I am a recently graduated film student (having shot short films on 16/35/HD) and am interested in shadowing a Camera Op. and/or 1st AC. Knowing after all the reading I've done on this site, I should start by building a strong resume and working as a PA or loader if possible, since I have worked as a Camera PA on features in the past. Working on this resume, I've realized that my experience in school compared to professional experience is about a 3:1 ratio, and therefore might not be enough. This might seem a bit strange, but bear with me... On this resume should I include my experience in camera work while in school and then create a separate section for professional credits? Should I make a reel of the films I've shot? I've realized that I won't be close to becoming a cinematographer any time soon, but will this reel help the viewer understand my abilities? Any opinion that you can give me would help. Thanks a million, Diana
  8. I was suggesting what to do incase you are asked to complete a task where you have no idea how to start. Quickly ask someone who knows with proper precautions. Besides, I imagine a camera intern would not monitor a crane or secure a 5k without making the DP nervous.
  9. I kept a journal when I first interned in the Camera Dept. and I jotted these pointers as a reminder for myself: 1. Never admit that you can?t do it. If you don?t know how, sneak your way over to someone who does and have them give you a brief set of instructions. If you don?t have that person around, make a careful, educated guess. If you?re afraid of looking silly, remember that this was an opportunity to learn something new and tomorrow is another day to gain those brownie points you lost. 2. Your way up the ladder relies both on luck and talent. 3. Don?t stress about the ones that are on set for the adrenaline rush. If they?re not truly serious, they will eventually be weeded out by the system. 4. Don?t sweat the small stuff. If you messed up one day, tomorrow you can make it right. 5. Less is more. The simpler your decision, the more room you?ll have to focus on important details. 6. Don?t be cheeky. If you?re good at the job, shut your trap and do it with the same amount of effort everyday. Over time, they will appreciate you for it and rely on you more. No one likes a know-it-all. 7. Gossiping is a No-No! Do not engage in this dirt-spreading activity. Off set, have as many friends as you like, but on set, don?t treat it like it?s college. Tens of thousands of dollars are invested into making this film work daily and it should be handled professionally. Besides, it?s rude. 8. Go ahead, party. On the night before your day off. Just make sure there?s no evidence the Production Assistants could blackmail you with on Monday. 9. Last, but not least, Confidence is your best friend. If you are sure of yourself and make prudent choices, you?ll manage to make it through the months of production. If you?re not confident, it will show though and make the people you work with less confident in you. Hope you're well, D.M.
  10. Work and study. That applies to us all. But how is the road to becoming a DoP different for a woman cinematographer?
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