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Serge Teulon

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About Serge Teulon

  • Birthday 09/26/1974

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  • Occupation
  • Location
    London UK
  • Specialties
    Cinematography, Football(soccer) - The super Chelsea FC & surfing
  1. Can anyone recommend a 1st AC and Gaffer in NY for commercial at the end of next week. Please feel free to PM me - sergedop@gmail.com Many thanks in advance. Cheers Serge
  2. James, With all fairness he is speaking to a crowd and with the knowledge that he's going to be viewed widely throughout the world many times. He has got a reputation for being someone that is extremely tricky to work with. But all those stories could be hyperbole. We have to judge him on his work and he certainly is good at what he does. He maybe goes about it in a way that leaves many a crew with a bitter taste in their mouths. Interesting to hear him talk though.
  3. Its not about the highest honor. Without wanting to patronise, an award is a symbol of appreciation and congratulatory to one's work. Right? Its an industry organisation judged by professional members or a panel of judges that say that one's work is of excellence above all others at that event/year. Mauro Fiore's work on it is VERY GOOD, just like in the other films that he's shot. But yes the ASC award is regarded as the torch of cinematography as it solely concentrates on cinematography and not marketing etc.....
  4. Ari, Nobody is having a dig at Mauro Fiore or his work. If anything there is an overall feeling of sorrow as he might just be thinking that this award should've gone somewhere else. Mauro's work is and has been always of top standard. The comments are based on the fact that the CINEMATOGRAPHY AWARD has been given to a film that comprises 80% of it as animation. And by giving the award to the film that has 20% of actual filming work in it, what does that say to the other films that are 98% filming work? What award did the VFX DP get for his 80%? Zip. At the end of the day the 20% cinematography work is beautiful and complements the 80% of animation. But it does not, in mine and may others opinion, warrant the cinematography award.
  5. Hey Sander, That's a lighting plan that can suit a million stories but if we don't know where you're coming from, to reach that point of the story and what it entails, and going to, then how can we give you an opinion? Have you got any image references that match what you are trying to achieve? Is it daytime? nightime? are there windows? What ratio of contrast are you looking to achieve? etc etc.... I'm sorry and please don't take it the wrong way but it really is as vague as that. Cheers
  6. Hi Cian, As Chris has said it all about reflections. You can have a wide soft top light source, bounce your side lights in to material like poly boards and control the shape of your reflection off the poly. Black material is your shaper....if that makes sense. Daytime outdoor stuff can look cool but means that you have more to control in your environment and that can be a big job. The other option that you can think of is a blacked out studio environment. Which leaves you to focus on getting the reflections without the need to control lots of different parts of your environment. The guy's who shoot cars get paid a shite load of money because it is, like make up, a specialised thing. Once you are known as a car dp you will always be pigeon holed as such. But that's not to say that you can't add it to a show reel to show off your diversity. Good luck and have fun!
  7. I haven't seen this film. But if its better than A Prophet, then I definitely want to see it. Cheers
  8. It just means that the Oscar for Cinematography ,from now on, will start to mean f@&k all.
  9. Stumbled across this.... http://onevillage.org/lighting.htm#glowbal1 Cheers
  10. That is great to hear Jim, as I always scratch my head to the notion that we, mere mortals, DI at 2k rather than 4k. Does this not also mean that charges in handling and storage also go up ?
  11. I partly agree with you Jim. There is a tendency for us to romanticise over film. But then we are artists and film has been our 'love-affair' palette for many many years. To date I've shot nearly as much with digital, as I've shot with film. but the one thing that irritates me about digital is that I feel that I need to be a technical engineer/scientist to work it. I'm really not technically inclined, I'm more creatively based. The noughts and one's and how they work don't really interest me. What interests me is how the light coupled with the camera move and the action taking place all marry with each other. Not that if I change a matrix number from -1 to -9 that I'll have more give here and less there. Even though there are some really beautiful digital images out there, digital hasn't found terra firme. Every day numerous posts surface, in various forums, that consistently highlight new issues which 'has-just-been-found' with latest digital cameras. When I first started out I was given a great piece of advice. Learn the technical side of things and make it 2nd nature, and once you do that, then you can concentrate on the artistic side of things. Unfortunately with digital it just feels, in years to come, that most of us will be concentrating a bigger percentage on the engineering rather than the art. This I believe means that we could become more formatted...which I think our industry is showing signs of already. When called upon, I'm hoping that your misterium x will bring an end to all the bullshit red posts and just allow us to go out there, shoot beautiful images with no nasty surprises.
  12. I think what Adrian has said is a very good point. Being paid, no matter how small an amount, means that the production has taken a conscious decision to hire you and that you are of some value, apart from just physically being there and the convenience of saving a £ or a $ or even a €! On the other side of the coin, when I was starting out my no-pay factor helped me to get involved in some good shoots rather than swimming in the wilderness of "how do I get in?" Essentially don't let people take the piss out of you and make sure that you zone-in on your patience 'muscle'. Ya gonna need it! Good luck Cheers
  13. Definitely get the larger of the paper lanterns, as Adrian has pointed out. In the UK you can get the bulbs from here As for controlling them, nothing like some black duvateyn (not sure if spelt right) and/or black wrap.
  14. The paper ones do get used on professional shoots. It all depends on the budget. I like to put a photoflood in those.
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