Brandon Del Nero

Wow, no Fincher/Cronenweth yet? Not only Fight Club and The Social Network, but "Freedom '90"

please contact brandon@frameworkla.com for more details Thanks Brandon

If you happen to come across it, I'd love to read. Might try to dig it up. Seems pretty seamless for a 3 format shoot

Brilliant music video, but I've been wondering for a month or two what camera was used. I thought I heard right after the video was release earlier in the summer that it was a 5D, but the ramping leads me to think otherwise. It definitely looks to have the compression artifacting of a DSLR in some places (of course that could be the export quality) Can't seem to find a "making of" or stills of the shoot, but according to Wiki it was an 18 hour shot WITH the band, about 9 days in all. Impressive stuff Guesses?

Great stuff! The interlacing is throwing me off a little, I think you can render out to a bit higher quality format

Although Freya may have mentioned this, television is one way to go. I've ready of many British DP's getting their start in TV and documentary work. Then what happens is most people end up coming out here

There's some good stuff in here, but I really think that the music is a bit too ambient to get a viewer very excited. I don't listen to much current pop music, but I think a lot of it is great for reel work (cutting my current reel to Goldfrapp's "Ooh La La") Ditch the shot of the guy throwing those sticks into another guy's neck, it looks fake. Also, you can probably afford to lose a few close ups, we only need to see one or two well-lit ones and then it just begins to become repetitive.

After doing a fair amount of DP work over the course of the past 3 years, I'm more or less seeing my career as a bit stagnant. I'm in the same boat as many young DPs out there, kinda caught in a perpetual cycle of free work for web series mixed in with the occasional short documentary or reality shoot. I guess I'm slightly confused as to where my career is headed and how to steer it in the direction I see fit. I've always thought that the idea of having a mentor was great, especially in times like these, and although I've come close to having a one before, it never quite seems to pan out. There have been a few very well respected guys here in the industry that have shown interest, but ultimately had to bail on me, likely because of time restraints, which I can completely understand. What’s escaping me at this point is how people find the right person to take them under their wing and pass on knowledge to the next generation of filmmakers and what the dynamic of the relationship is. Are these chance relationships or is there a degree of searching? I’ve reached out to people I respect and have had some success, but nothing has really gone anywhere. It seems this was the norm in old Hollywood, but these relationships seem to be scarce nowadays. Any opinions or info would be much appreciated!

I like my Sekonic 758C, and if you get it through Mole Richardson and you're a film student, you get a substantial discount (at least I did when I was a student)

What are the dimensions of the room, including ceiling height? Those 2K's are going to cast quite the shadow, to prepare for that battle. Also, what format are you shooting on?

yeah its not too big of a problem in AE. I find many people go with vintage lenses for flares with some character, the old russian Helios or vintage medium format primes. I could start another thread altogether on strange lenses for the 7d

Were there disco balls in the 40s? This is a serious question, I don't know. I think they feel a little out of place for a lounge singer, but that depends on if its a period piece or a contemporary with a 40s "mood" You can hit her with a par for some strong backlight (think Janusz Kaminski, overexposed a few stops) and toss some 1/2 CTB on it (I know you don't like the daylight for this one, but I think you can sell a cooler light for the 40s), plus the spill might make for some nice beams of light with the smoke Your 1K will give her some dramatic shadowing on the face, which I like. Mixing color temperatures is always a nice look, too. Consider putting your china balls on a flicker box, might add to the effect you're getting with the location. Also, I like the greenscreen idea for comp later, just make sure you have a nice, evenly exposed light on it

Looks great Drew! Did you use the L glass or standard? Also, were the lens flares native or added in post? I'm finding it more and more difficult to get a good lens flare with all this lens technology haha Great job!

14 days to shoot a short?!?!?!?!?!?!?!? How many pages is this?

Well put. I feel you have to think very far outside the creative box when working with natural light. And if you're working with exclusively natural light, you'll have some ups and downs, unless you have complete control of where and when you shoot. My advice is when tech scouting your locations, ALWAYS have at least one practical source and keep an array of 100-250 watt light bulbs available at all times. At least then, you have control with your interiors. And as Andrew said, the Red has a decent level of flexibility, but I strongly feel as a DP, you have to think about post and finish too. What look can you achieve in a DI session (if you're scheduling one)? Is there a through-line to your work, or are you just pressing record when you find an angle that looks passable? The more I think about what I just wrote, the more elementary it sounds, but we tend to forget about the basic foundation of photography with natural light. The basics may be exactly what works in this case.