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Everything posted by Brandon Del Nero
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great director/cinematographer collaborations
Brandon Del Nero replied to Chris Montte's topic in Cinematographers
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
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OK Go - "End Love" music video
Brandon Del Nero replied to Brandon Del Nero's topic in General Discussion
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?
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ALEJANDRO LALINDE - WEBSITE+BLOG
Brandon Del Nero replied to ALEJANDRO LALINDE's topic in Jobs, Resumes, and Reels
Great stuff! The interlacing is throwing me off a little, I think you can render out to a bit higher quality format -
Advice for Newbies
Brandon Del Nero replied to Phoebe Couzens's topic in Students, New Filmmakers, Film Schools and Programs
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.
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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!
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Lighting a Motel Room scene
Brandon Del Nero replied to Michael Kosciesza's topic in Lighting for Film & Video
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? -
Calvin Klein Commercial (Shot on Canon 7D)
Brandon Del Nero replied to Drew Maw's topic in Please Critique My Work
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
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Calvin Klein Commercial (Shot on Canon 7D)
Brandon Del Nero replied to Drew Maw's topic in Please Critique My Work
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! -
Looking for Crew to work for Title
Brandon Del Nero replied to Annette Bigles's topic in Jobs, Resumes, and Reels
14 days to shoot a short?!?!?!?!?!?!?!? How many pages is this? -
Best movies that are available or minimal lighting only
Brandon Del Nero replied to XiaoSu Han's topic in General Discussion
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. -
Hey all! Check out my reel: www.playgroundpictures.net Its about a year old, so I'm looking to recut it, toss a few things, add some new ones. I think my taste in reels has dramatically changed What works? What should get the boot? Any feedback is appreciated! Thx b
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Great Job! Question, did you have any mechanical problems with the Elaine? Taking nothing away from your film at all (because I think it looks wonderful), the Elaine is just a horrid 16mm camera. The block is poorly built from my experience, wondering if most people have the same issues with it I sure do know how to kill a conversation :( Again, nicely done sir!
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5d mark II to shoot a short handheld?
Brandon Del Nero replied to Jad Beyrouthy's topic in Visual Effects Cinematography
I don't think its a moving parts or card issue with the dropping of frames, its an overheating issue. Keep a fan on set and hit it with that between takes -
Full body lighting setup for green screen
Brandon Del Nero replied to anaoshak's topic in Lighting for Film & Video
I think "even" might be a bit of a misleading term, apologies! More like making sure your darks aren't too far underexposed. I suppose your lighting may tend to be a bit flatter than desired, but it's the tradeoff for being able to pull a good key and adjust your subject without the fear of standout dancing grain -
Full body lighting setup for green screen
Brandon Del Nero replied to anaoshak's topic in Lighting for Film & Video
Also, throwing a mirror underneath your subject can kill some spill onto the feet and legs, if available. And as a side note, if you're shooting digital, try to get a nice and even exposure on your subject, paying special attention to your lower ranges. When compositing, there tends to be a decent amount of curve adjustment, and having to crank the lows too much will pull your image apart with grain. I especially notice this on the Genesis, but I'll make the assumption that the more evenly exposed subject, the better in most instances -
I did a scene just like this (www.playgroundpictures.net) Basically, we had cubby holes up in the ceiling, so we lined the square cubbies with white card, a few 2x wall spreaders to hang 1 and 2k's on (the 2Ks above the subject), and kept the ceiling as far out of frame as possbile. I threw a few 4K HMI Freznels across the room from frame R with some full soft frost (if I remember correctly, it was several years ago) Short answer, mount bounce from the ceiling and keep it out of frame, throw from a distance with some power if possible for a nice dramatic key
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New Litepanel Sola12 vs. Conventional HMI
Brandon Del Nero replied to Robert Gardner's topic in Lighting for Film & Video
250 watts with 2K power...sounds like its at least worth a rent to test out. I'd be a little skeptical about the light build if you're using them on a construction site though -
video to 16
Brandon Del Nero replied to Tato Kotetishvili's topic in Students, New Filmmakers, Film Schools and Programs
You can send it off to a place like Technicolor and get it scanned (although I don't think Technicolor will deal with students anymore), google "16mm scanning", I'm certain you can find a place close to where you're at. Make sure you know whether you want a print or a picture negative for DI sessions