jason joseffer

Hi Satsuki! Good to see you. (virtually speaking)

Hi Nelson. Or Maybe try shooting from another boat? You could set yourself up on a Kayak with a high hat, then shoot boat to boat. If it needs a rigged feel I'm sure you could rig the two boats together with speedrail and let the peddle boat pull the operator in the Kayak.

Good advice on the acetone. Another trick to try is pushing a soldering iron against the screw head. The heat can loosen up the locktite, If you damaged the screw head and can't get it out, the next thing to do is try and drill it out. Use a drill press and move slow. I also recommend having a shop vac suck up all the metal dust it creates as you go. This is a last resort option, but can work.

Hi Gregg, Thanks for watching the video. I did the tests with tin foil, but I wanted a lens with variable focal lengths. If I simply put tin foil over the mount I'd be locked into approximately 50mm. My lens allowed me to have focal length options and quickly change them out. You probably experienced sharper images with stills by using smaller aperture sizes. Even with the camera cranked up to 6400ISO, I couldn't use my smallest aperture options. Perhaps with a camera that has 3 or 4 more stops of sensitivity you'd get those crisper pictures.

Hi All, Thought that the lens forum would be an interesting place to share a music video I recently shot on a custom machined pinhole lens- I machined the lens to have variable focal lengths (25mm, 50mm and 85mm) with an integrated rotating aperture plate. We shot in wide screen with an 18fps time base. Thanks for checking it out. pinthumb.pdf

Still available.

Still for sale.

bump

And photos of the 35mm-

Hi all. Moved on to a new set of primes and am selling the remaining two lenses from my Nikon set- Nikon 28mm Series E f2.8 = $150 Nikon 35mm f2 = $300 Lenses are in good condition. Both have de-clicked apertures, delrin fitted 32-pitch gears, 80mm fronts and 80mm push-on front caps. (The 28mm has a tiny cleaning mark/scratch that has been on there since I bought it and has never shown itself on an image in any way what so ever.) These lenses can be fitted with a Canon to Nikon adapter and be used on Canon cameras and mounts. I am based in San Francisco and can show them in person if anyone local would like to test them out. Feel free to send me an email if you have any questions- film@jasonjoseffer.com

You might consider having them disassembled and take them to a machine shop to have the paint removed and it to be anodized black,

Hi. Not exactly sure where you are shooting in Africa, but I can offer some advice based on my doc experience in Haiti. Haiti is a hot/humid country which created many over-heating problems for the 7D. I ended up wrapping the camera in white plastic and later keeping it shaded during interviews via an umbrella. The umbrella was a huge help. Of course, a set of ND's and Pola is very useful/necessary. Hope that helps. -jason

Not a "documentary" in the classic sense, but none the less a fabulous piece of documentary filmmaking is This American Life TV series episode John Smith. I was blown away!

Anyone here know which filter(s) were used by Edward Lachman (ASC) in Erin Brockovich? Looks like he may have used a Tobacco or Chocolate filter. Anyone know? Thanks.

Hey guys. I am looking for suggestions on how to simulate a breath. For example, it is cold outside and you can see your own breath. I know I need to backlight it. But how do I artificially create that effect? (fogger inhailed by talent?) Any advice would be a great help.

Thanks for the offer Ryan, but yes it was shot in France over a year ago... The scene came out beautifully. Thanks.

Awesome. This really interests me. And of course I am aware of color temperature change, but the ability to change levels quickly and efficiently seems fantastic. Any other thoughts? Perhaps specific units used? Are there lighting boards that have the dimmer mechanism built into the board? -jason

Hey Guys. I randomly found an old American Cinematographer magazine a few days ago and read something interesting It was an article about Vittorio Storaro's work on the film titled Caravaggio. It briefly mentions that Storaro has his Gaffer rig his lights to a theatre lighting control console so that he can tweak his lighting from a single place. This seems like a brilliant idea to me and wanted to get the feedback others. Has anyone does? What sore of board works well for this? Any and all thoughts? =)

Sup guys. Just thought I'd introduce myself here. My name is Jason Joseffer and I am a SF based DP/Operator/AC. Always interested in making new contacts. If you guys ever need an AC or Gaffer for something, give me a hollar. Here's my site- www.jasonjoseffer.com All the best to y'all. -jason

Anything else guys? I really could use the feedback. Thanks.

Thanks a million man. Really appreciate it. Hopefully I'll have a chance to cut it up sometime soon. All the best!

Hey guys. Updating my reel a bit. Any feedback would be super helpful and greatly appreciated. It's less than 3 minutes in length. Be harsh- http://www.jasonjoseffer.com/bigqt.htm Thanks all.

Thanks. I like that idea of throwing some hard backlights into the seated people. But I think I still need to throw a greater level of ambiance by bouncing a couple HMI's as I am using a 35mm adaptor, which looses a great deal of light. And yes will be using 3 or 4 1.2k HMI's to create pools of light on the columns, then for a scene later in the day on the crowd/floor. Any more ideas all? Thanks.

Heya again. Yes it is daytime. And you are right. I will not be actually using filters, but will be manipulating the scene files to get the look we are after. My idea for the white reflector boards is to hang them up at a 45 degree angle and blast the HMI(s) into them giving it some direction into all of the peoples faces who will be seated on the benches. Any other ideas? thanks.

Hey all. Greetings from France. I am a San Francisco shooter currently living and working out here. I've got a short film coming up where I have to light up a rather large church. We will be filtering the camera to take on a desaturated blue-toned look. We are shooting HD 1080i on an HVX200 with 35mm adaptor kit. Here's what we have to work with- 4 X HMI 1.2 4 X HMI 800W 10 X Tungston 2K and kinos and smaller stuff. My idea for the large shots is to have the three 1.2K HMIs on Hi-Hi stands hidden behing the pillars projecting onto the ones just behind with gel filters to simulate beams of light from stain-glass windows. I then want to use the Tungston 2Ks to project beams of light up the columns beside all of the seats. I will probably gel the tungstons a greenish yellow. For ambiance we want to use the other 1.2K HMI into a giant white reflector facing the chairs from behind camera. We will also be using a hazer to highlight the beams of light. Long single bulb kinos will be placed behind the benches to gently illuminate the people in the front rows. Any ideas you all may have would be greatly appreciated. I'm mostly concerned about our wide shots. We don't have access to any HMI's bigger than 1.2K. Thanks in advance.