David Gascon

Hi everyone. It's been a while since I'm browsing this forum where there is so many talented people. Thanks for the very inspiring work. I decided to post my website so people can look at some of my work and especially my demo reel. By doing this I also open the door to any collaboration on different projects here in Montreal, Canada but also everywhere where people need some french/canadian inspiration! :) Have a nice visit. Peace. David Gascon www.davidgasconvisuals.com

Ok, it is a question that you probably saw an hundred time...but I need some opinion here. I'm interested in shooting a black and white super16 mm film soon, and I need some advice on black and white film stock. The movie gonna go on telecine and finish on DVCAM I guess. 1- First, what film stock, from your opinions will give me the most "clean" picture? I already work with 7222 from kodak, quitte good film stock, but I'm asking what you think about this film and other black and white stocks. 2- Wich film would you consider as the finer grain? 3- Wich film would you consider as the more contrasty? 4- Wich film would you consider as the film having the most latitude? 5- What about other company than Kodak!? Im searching, but Ilford seems out of business, is there other option. Agfa? What you think? Also, maybe you have some still shot of film stock as example. Thank, I guess it is more a survey of opinion...but it may help me a lot. :D

the production is in super 16, and yes, we will use telecine after, probably a Da Vinci Suite. Fuji 500 seem really interesting, but because we will probably use a 200Vision 2 for day scene, I'm a bit concern by mixing both Kodak and Fuji Stock. I really want to create same kind of look. But thank for advice. David G.

Looking for opinion here. If you had to choose between, 200 Vision2, 500 Expression Vision2 and 500 Vision2 film stock to shoot a night scene, with for concern, a very low dept of field and be sure that the black are really black, what of those stock you'll choose?

Hello everyone. I have a question for you. In fact, I need more an opinion or sharing some of your experience with me. I'm about to shoot a short film where its raining all day. We are dealing with a FX company to do most of the rain in post, but I still need a small amount of water on actors and on glass by example. Since we are a...small budget film, I want to know if some of you already create their own rig for splashing water. Im thinking to do a ''X'' structure, with hoses and metal wire that I can hang up over actor and structures. Don't know if someone have something else to propose, let me know! David G. :huh:

Always depend of what you have in mind. I mean, if you don't plan to do wide shot then, you dont' need that much space for the camera. But, let say you want to do dolly on rail or any other movement, then you will need more space. Your 30x20 screen is decent, and you can do lot of stuff with it, so be sure you give yourself enough space to not cut in your creativity. And be sure you have enough space on the side too so you can add lighting. David G.

If you have a chance, go look at David Mullen's work. Some pictures of Northfork with Nick Nolte are available in another topic about eyelight. The effect he create with the window is really impressive and I think your looking for something like that. Even if you don't have kino, you can create yourself some soft box with your light and some diffusers and blackwrap. David G.

No David, its for a short project going to telecine... Hum... so basicaly you tell me it will be hard to get... I didn't know it was discontinued.

Hey thank guys, that make sens and you made it clear for me. It's what I was thinking, but wasn't to sure if there were a twist that I couldn't tell. Thank again. David.

I'm thinking to use Fuji reversal film stock on a film. I kind of like reversal texture and I think fuji will give me proper blue and flat red. Did any of you shot with this film stock, if yes, where were the isue, what the thing to do and the thing to not do? Thank.

I have a simple question, how ND filter affect light. Are you loosing any of the light property or it's only simply cutting light. Also, from your experience, would it be better to use ND on camera directly or on light? Thank you. I know it is basic but... need to know.

Thank Micheal, but what do you mean exactly by negative fill? And David, what I mean by red tint, is that i want the picture look bluish, but I want to keep an acceptable balance of red in the face to get nice color of skin. I think it something I could correct after at the telecine. But if any of you have another good combination, just let me know. Thank

Hi everyone! I'm doing to shoot a film wich is supposing to be a rainy and cloudy day. I want to be well prepare, so did any of you had to shoot a cloudy mood scene when is sunny. If yes, what good trick can you suggest me to get the best result? And if I want the scene look a bit bluish, I was thinking to use a tungsten film outside with a filter. My question is, from your experience, what would be a good filter to use if I still want some red tint in the skin? Thank you.

and I'm shooting with Tungsten typeB film stock.

What are the quivalent in gels of filter 82b. What the ultimate way to make a 100W regular electric light look white on a tungsten B film. And from your experience, what should i use to make small lights that we usually use in christmas three look white too. Thanx :huh: