Don Bachmeier

Similar to the legendary local DPs who put up a 10K and diffuse it through sheetrock. So I've heard.

Dappled sunlight? I use a Source 4 (50 degree barrel) with two gobos in a rotator on a dimmer to make it go really slow. It requires some experimentation with patterns but usually there is a breakup in there and often something strange to rotate against it. I've occasionaly added a Rosco glass color breakup filter in the regular pattern holder for some really stylized looks. The appearance can change very subltly but everytime you look at it it is a little different and doesn't appear as a repeditive pattern. It really helps on those blank backgrounds that show up other techniques as 'effects'. All the best,

I've heard of the slide viewer trick. The DP used them as a stick-up in confined areas. There was a choice of tungsten and daylight bulbs as well. I remember there were a couple of size options too. It became somewhat popular and a cine rental place in Denver started stocking the things. Thanks for reminding me!

Lowel makes a frame that holds gel a safe distance from the bulb. Unless you use the optional doors or Black Wrap the sides there will be a bunch of leakage from the sides and top. The Tota is very wide so it is often used for a direct flood effect, bouced (into an umbrella, wall, ceiling, foamcore, beadboard, etc.) or most popularly inside a softbox. I've often used a couple stacked on the one stand shooting through a wide diffuser (at a proper distance of course) like track paper or a white bed sheet. The hot, hot aspect is the trade off for portablility. It also accepts a fairly wide range of bulbs some of which you can pick up at home and hardware stores in an emergency.

Having your lens as wide as possible is a huge help. Elbows in or down, not sticking out like wings. Keep the camera firm to your head (this most often precludes headphones). This makes the camera part of your body. For a reference of the amount of movement watch how the image moves compared to the static edge of the viewfinder frame. A few deep breaths before the shot, then very shallow breathing for the duration. Disguise the shake in a slow zoom or other deliberate camera move. Holding a static shot on a long lens is the worst. Use your people skills to encourage a change in the shot. Additional padding on the shoulders seems to make the camera more unstable. It seems even more top-heavy. For broad pan shots that can be planned or antisipated, turn your body to the end position and start the shot slightly twisted. This way you end on a more stable footing and can hold the end shot a bit longer. Of course you would have to modify the technique to the situation. The advice on the camera being in balance is important. Generaly a basic camera/lens/battery combination is pretty centered. And the shoulder pads on most modern cameras are somewhat adjustable. As mentioned it is the add-ons that can make simple operation challenging. Practice and rehearse of course. don

I know of a talented British DoP that works out of Minneapolis and continues to hop back to London for his old clients. He works regularly. Good is good. I've often gotten the feeling that people think that someone from somewhere else is better. Sometimes it is just that it is different. It can be done. You may have something fresh to offer. Be warned that in some markets 'low balling' has made it more difficult to make a living. All the best to you.