Jared Hoy

I like your reel a lot!!! I feel your reel is strong except for two shots. The five shot, because the black guy's face is about gone and the airplane shot because my eye is drawn the back of the air plane (the splashes of light).  The only other thing i could say is the play bar is cutoff (I?m in firefox), make sure to leave 16 pixels in your source code for your webpage.

 

Your reel is real good!! I really enjoyed the black and white sections :)

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Adam,

Thanks a lot for the input. Yeah that play bar has been a pain thus far. I'll have to take a look at the air plane dolly shot and check it.

I suspect controlling the contrast, brightness and color reproduction of the display will be problematic, and could lead to incorrect judgements of your lighting.

 

http://www.kodak.com/US/en/motion/products...=0.1.4.18&lc=en

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if your using it for framing & composition no worries. As far as colour, I suggest getting a dvd (i bleieve most FOX has them) and running the THX calibration in the special features.

i love this shot.

back lit the group using 2 fresnel 300 clean.

the glow comes from nook with i believe 1/4 cts + 1/4 cto (i could be mistaken, its been about a year or two) on a hand squeezebox to about 70%.

fill w/ a 1k open face blonde through 216 & 1/4 O.

also from the same show

650 fresnel through 1/2 O & a nice bush to get the play on our back wall.

filled with 4foot/4bank KINO tungsten tubes. Keying from camera right with i believe another 650. And she has a top down 200w pepper as a special on her hair.

dvx-100a can do some nice things (don't kill me)

gaffer reel - through my website

not that a gaffer reel is anything but a lot of people ask for samples.

take a look and please give some feedback.

-- jrh

Who are you kidding, you want the DVX to look like 35mm negative? 

 

The closest thing you can do is use the PS Tecnik, which will allow you to have film like depth of field.  You'll lose 2 stops though, and it sucks for hand held.  I usually always stack a bunch of filters on the DVX to make it look "unique."  One thing I do love about the DVX is how much you can play with filters.

 

Good luck

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well i know its like asking for a black crayon on white poster board to look like an ansel adams photo but I'm just after what i can get.

Hey guys & gals,

So apparently I am going to DP my first short this weekend, as I come from the lighting side of things my camera knowledge has some holes in it. I was wondering if any one had any advice on camera settings for the DVX100a. I want the image to appear as close to 35mm as possible. Any suggestions?

Thanks In Advance

Here's some; some are free, others charge:

 

www.entertainmentcareers.net

 

www.mandy.com

 

www.crewnet.com

 

www.media-match.com

 

Also try the L.A. Craigslist.org (losangeles.craigslist.org)

Good luck :)

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thanks a lot!

Don't want to sound like I'm stealing your sources -=- but i'm new to Los Angeles for the most part and know NOONE - so i need to find the info on jobs where I don't need to know anyone, knowing people will come. what sites do you use?

You'd have to be more specific.  Maybe they are thinking of the 3:1:1 color subsampling.

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not sure. i believe it was the chip having an issue w/ the proper exposure off the colour, always under exposed all red/blue -- myabe i am competly wrong and sound drunk to the lot of you, but i swear i read/heard something.

let me phrase it this way:

those of you who've shot w/ the f 9/700 cameras; any issues w/ red or blue exposures?

i remember, maybe, reading somewhere a while back that the 700/900 sony HD had a slight problem with colours, However I can not remember if it was the blue or red spectrum.

has anyone heard this or is it just a buncho of miscommunication?

Why would that be doing better? I have a credit on IMDB, but it doesn't matter anything. I've had one paying era of four months on my career, and it wasn't even cinematography-related that much. You can in fact get IMDB credits for anything that is shown on whatever festivals.

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there is a submission portion - you must register for a user-id - it is free so no worries. find the film & update the information - may take up to a month to update. when it is updated you will see your name, click your name then that should take you to your profile. update the information here the same way -=- kinda lame but IMDB is entirly user updated information but can be quite handy.

i remember, maybe, reading somewhere a while back that the 700/900 sony HD had a slight problem with colours, However I can not remember if it was the blue or red spectrum.

has anyone heard this or is it just a buncho of miscommunication?

G'day Jared.

I have used both the XL1 & XL2, and the DVX100, and only the other day i had a play with the Sony HDV (i posted an opinion in the HDV thread a couple of days ago) but have not shot anything on it, so?

I think you'll find that any of the three, handled well, will do a fine job. Both the XL2 & the HDV are 16:9 and the DVX 4:3 if that's an issue.  I don't know how much experience you have had, or your actors, but the small inobtrusive cameras will help to keep the shoot relaxed.

If i was to pick one, i'd pick which ever was the easiest or least expensive to obtain, particularly if it's just for yourself. Also if there is any editing, then what is available for that may lean you one way or the other.

Anyway good luck, and i hope you have fun.

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we're going with a full paid crew, well not full but (gaff/BBE+1) 4or5 production side, a PA or two - you know the task. The cost isn't an issue between the decision.

the XL-1 could use the Prime lenses, and the XL-2 as well?

I will definatlly check out the HDV thread and will be spending a day at the rental house in early January.

thanks for your input.

set up:

I'm going to be directing a "quaint" little short that is mainly for myself to work with the actors for a feature that is coming up next fall and to try a few things.

question:

what are your pro's and con's against/for the perticular pro-sumer cameras.

response:

thanks ahead of time.

Hey everyone,

 

yes Im looking into international film schools....

 

Ive heard good things about the animation dep. of this school,

 

but does anyone know anything about the quality of the

film production department ?

 

thanks!

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i've heard they make pretty films there, as in, well teach you to get a job films. as far as production experiance, i recomend LAFS (lafilm.com), though i know you people are sick of hearing about it....

just picked up an EXCELLENT condition Norwood Director Color-Matic Model D Light Meter (for like 5 dollars). how do these rate to say the sekonic studio deluxe meters?

will this hold me over until i can cut loose and pick up a newer digital one?

OK, that makes sense.  It just sounded like he didn't want to have that comparison because he thought HD was inferior to film when green screen is involved.

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don't get me wrong -- i LOVE, absolutly LOVE 35 -- but i also LOVE HD, for different reasons. like most people siad, tool in a toolbox.

You obviously haven't seen the scene with the corny waterfalls in the background in Episode 2' then,. That was one instance where the limitations of HD became painfully obvious as the grass looked like anything but grass. The limited resolution of video just couldn't deal with all the fine details that you have in a meadow.

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lol - i put a rule in here. no quoting episode 1 or 2 -- i feel to proper measure the benefits of HD there should be some aspect of something other than a greenscreen involved.

There have been many mandates such as this in the past by the FCC in regards to all stations having to broadcast digital.  If history is any indication, when the deadline comes around again they will just push it back a few more years like they always do.  If memory serves me, one of the first deadlines was for 1996.

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stupid fcc.

Hi All,

 

Ok I think it's time for some serious talk about HD, frankly I'm thinking HD is really a lot of hype and no substance.  Big money hype that is so the manufactures of TVs can make a ton of money.

 

I was at the Sony store last night looking once again at HD TV products.  They had giant HD plasma and LCD screens there with PBS HD being fed in.  I really wasn't that impressed at all.  There was lots of artifacting in the screen image and "confusion" over colour levels on both sets.  The picture certainly wasn't worth the $15,000.00 CDN price tag.

 

I asked to see a standard CRT HD-TV as I assumed this would be much sharper than a plasma or LCD.  It was of course, nice picture.  But again, really not that much better than the new flat screen standard def TVs you can buy now.  I just don't see what all the fuss is about?

 

Oddly enough I have two friends who bought HD TVs, and a HD cable package.  After a few months they both quit paying for their HD cable!  I was shocked, I asked them why after spending all that money on the HD TV would they stop the HD cable?  They both said they didn't think the picture quality was worth the money.

 

Is it true?  The HD Emperor has no clothes?

 

DC

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HD is coming and it's coming strong. Your friends were probably frustrated, as am I, about the lack of possible channels for the HD signal. But 2006/8, i forget which, is right around the bend, when all broadcasts are required by the FCC to output an HD signal.

as far as the filmming aspect of HD -- it can have my children. Many will say that it looks wrong and the like. WRONG. It doesn't look wrong, it looks different than what the popular consensus (35mm) should look like. For god's sake man! You can see the small fibers of hair on a blade of grass. gorgous.

i say, Embrace HD. Welcome HD, but above all, Respect HD.

I took the gag a bit differently when I did it.

basically took 2 clear CD case fronts and covered one in CTB (use O if you're primarily balancing to B) and the other in I used either a miinus red or a party green, i can't remember & pop a small light back there, 100w pepper maybe 250w. anyway have someone *shake it up* by passing the cases w/ the gels infront of the light (the light should be directed to where you want the desired effect, obviously) whatcha think, it makes for a bit dynamic.

just curious to what diffusion strenghts people like over others and in what situation.

p.p.s. Why would a light with 1/2 or  1/4 CTB make the glass sparkle a bit more?

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maybe sparkle is the wrong word. accent would probably be more proper.

I am currently in pre-production for a short which is shooting with a DVX100 or Canon XL2 with the Teknic adapter and Elite anamorphic lenses for the purpose of printing to 35mm.  Has anyone had this experience that might have any suggestions or troubleshooting tips?  Since we are going to be doing a DI would it make sense to just leave the softening filter (ie. BPM) for the post process or do it in principal photography?  Has anyone worked with DuArt or Heavy Light Digital in Manhattan for the digital to film process with any opinions towards their experience?  We will be using a steadicam with the intent to capture a German shepard running close to full speed.  The location (for you manhattans) is in riverside park, a paved area.  The initial idea is to work with a golf cart as the moving vehicle, but my concern is for the operator and his/her ability to safely mount themselves/or the rig to the cart.  Any ideas in this arena of steaicam would be great.  Any thoughts, ideas, concerns about these situations will be greatly appreciated.

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get the right sized mattebox.

anyone have an old light meter (not antique :) that i could buy? preferably that has a spot meter build it? i would be your very best friend in the world.