Ian Choplick

I know this is late response. But I've also had the actors shut their eyes and look into the bounce through their eyelids for a few seconds. It seems to help quite a bit.

I am getting ready to shoot a short film, which is to be in a low light- film noir lighting situation. I would like to see the blacks disperse to black, but keep the details in where I give it a little. Definitely gonna be on the low lights situation wide open. I am shooting on the Scarlet, with Cooke S4 lenses which are at a 2. I hear rating the camera at recommended 800ISO is the optimal performance for the chip. Just seeing if people had certain settings that helped them out, things to look for, etc..... Thank you Ian

If you are low budg, take the risk, act like you are supposed to be there, but don't be arrogant. If you can afford being shutdown compared to paying for permits, then that's what you do. Other way is... Do your research. Federal land is easier to get permits for, and cheaper, compared to state land or private. Talk with the LA Film Commission, they are very helpful. And yes, if you are in public and shoot background, no one can dispute, thus paparazzi.

I've done this a while back with plain old household mirrors we bought. Wasn't looking for extreme clarity, so the kind of mirror wasn't a factor. The one thing I would caution is, that while we were trying to remove the large mirrors from the water, one broke in half. Just something to consider if renting or considering purchasing an expensive mirror.

Just re- edited my reel. Any advice, comments, etc. is greatly appreciated. http://chopshopproductions.com/ian_choplic...ematograph.html Thanks Ian

If you do have to go to sync boxes and are shooting both cameras at the same time, you are going to need to have both cameras synced together, which means two sync boxes. Would green screen be an option??

A lot of good advice. One thing that hasn't been said is DON'T HOLD THE SLATE WHEN YOU ARE NOT USING IT. There are a lot more things a 2nd AC does than slate. A 1st AC can't hand you a piece of equipment if your hands are holding a slate. Place it in a safe place and pay attention to what's going on. Also, don't bring the slate in until right before the camera rolls. The DP and operator are always checking the frame, so it's hard to do when there's a slate in the way.

The reflectors are very appealing and seem that they could have a lot of relevance on set, but I do agree with the above comment, that if anything gets bumped, then it IS an entire re-light.

Looks like time lapse for the lake and mountains with moving clouds. And the rest is steadicam... Don't think there's anything digital about it.

Looks like green screen for the background and film projection for the actor's face....