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Lindsay Mann

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About Lindsay Mann

  • Rank

  • Birthday 03/22/1983

Profile Information

  • Occupation
    Cinematographer
  • Location
    Brooklyn, New York

Contact Methods

  • Website URL
    http://www.beechwoodfilm.com
  1. Hi there, what are the serials numbers? I'm very interested. You can PM or email me. Thanks!
  2. Yeah, I may use some BPM, but I think it frightens the post guys a little. Weight is a factor, otherwise I'd go with the Cooke. I haven't used the Canon or Optimo much, just wanted to get opinions on the sharpness. Guess I'll go see for myself. Thanks.
  3. Shooting an interview with a prominent woman in her early 90's. hoping to make her look as beautiful as possible. We are shooting RED Epic, and I'm currently deliberating between the Angenieux Optimo 30-80 or the Canon 30-105. I want something relatively lightweight but not too sharp like I fear the RED zooms will be. Any other ideas out there? I might try to stay away from filtration and just have a couple Kino's pretty frontal on her.
  4. Sorry I didn't see this sooner. Diva was backlight for the subject. We had a fresnel gelled (I think) 1/2 blue on the product, which in retrospect I don't think worked well. The foamcore was just a flat 4'x8'. I use V-flats in photo studios sometimes, but they're a little unwieldy.
  5. Hey, not sure which video you're referring to, but it is always a challenge trying to match color temperatures in office buildings. I have been lighting with either daylight or cool white bulbs lately and hoping for the best. Color correction definitely helps even things out a bit. But I try to carry three sets of bulbs in the Kino Flo cases: 5600k, 3200k, and Cool Whites, which a lot of offices tend to have in the ceiling. I try to sit people by the windows, use the natural daylight (sometimes is burns me when the sun dips behind clouds - I sometimes tape some diff right to the window) and turn off practicals where I can. That said, people and (video cameras) seem to be way more accepting of mixed color temperatures than they used to be.
  6. Just saw this, and I'll try to post the finished spot when it's finished. Still doing a final color grade. A book light is basically what the lower 1.2 Par is doing in that overhead image. It's an indirect source (in this case bouncing off of white foam core) then back through a frame of Opal diffusion. I guess the V-shape makes it look like an open book. The bigger the light, the easier it is to make this work correctly, since there's some light loss when bouncing and diffusing. In a perfect world, I would have done this all with a couple 4K's. Now that I know about Guy's transformer setup, I might be doing that on my next shoot.
  7. Thanks so much for your thoughts, Guy. Really helpful just to get any other opinions from a professional that is not myself. Yours is basically the setup that I went with. The back wall getting some light from the "outside" HMI. I ran into problems trying to get the sunlight cast I wanted though. Part of my problem was running behind schedule loading in and setting up, and part was the physical limitations of the space. I had a bad shadow from a cabinet on the back wall, when in an ideal world I would have taken time to sculpt a much more pleasing streak of sunlight across the lower cabinets and countertop. I also wish I had a real background/translight out the window. I almost considered throwing a green screen up outside the window. But then I would have had to mount the "sunlight" separately and we didn't have time. I found it difficult to create a nice soft source from the window as well as a hard sunlight cast on the wall. In the end we went with a book light through opal and I really wish we had the firepower to go through a thicker diffusion, because our lead cast shadows on her own body that weren't very motivated. We filled with Kino's, although I wish it had been a larger source and softer, again a limitation of time and crew. I understand your note to go easy on the backlight, and I think that's correct in most situations. But I really wanted a sharp edge to her hair on this commercial, motivated by the window. I don't think I went bright enough with the backlight here. My original thought was to use a Leko for the sunlight, and next time I'm really going to try it. Overall, aside from the multitude of problems with the RED Epic melting down on us, I think shooting RAW will save me here. And The Cooke S4's were very pleasing. I had a small crew, but they worked tirelessly and I think it was a success. I've been eyeing your transformers for a while now. They seem like a perfect option for the next time I need a 4K. Never knew anything like that existed! Thanks again for the helpful feedback.
  8. So I have a shoot which involves a mother in a kitchen feeding her kids. A classic high key, bright white commercial look for a big name client. I'm debating between two things right now: A) Ultrabounce/Foam core bounce vs. sending light through silks, and B ) Tungsten units (because it would give me more fire power) vs. HMI's The location is this: I want there to be some hard sunlight coming through the window backlighting the subjects (foreground) and a large, very soft key/fill from the front that is large enough so they can move around a bit and stay in the light. I'm only worried that by bouncing, my light will go everywhere and it will look flat. Do I need to use a booklight in order to achieve the shadowless look we're after? Or will bouncing work? Am I better off shooting something through two layers of 4x4 diff? I've got a couple 1.2 pars to work with, as well as some 2k's, 1k's, and kino's. I figured I'd use the kino's to fill at camera like in the overhead. Thoughts?
  9. Haven't been to these boards in a long time. It's a true shame, it looks like a lot of great topics have been discussed. Just getting back into and wanted to add a link to my newest reel which includes some stop motion (my meager attempts) at the beginning. Not sure if the intro's too distracting or boring or what, but thought it might be fun to try. Anyway, let me know what you think: http://vimeo.com/18049364 And the new website: http://www.beechwoodfilm.com
  10. Zeiss ZF 25mm f2.8 - $650 Zeiss ZF 50mm f1.4 - SOLD Iscorama - SOLD Ikan HD Monitor - $650 Nikkor 55mm f2.8 - $200 Letus Extreme 35mm Adapter Kit - SOLD Please direct all inquiries to lindsaymann@gmail.com
  11. A number of items for sale including Zeiss ZF lenses, HD monitor, and Iscorama anamorphic adapter. Pictures are here: http://picasaweb.google.com/lindsaymann/Fo...feat=directlink Optics on all lenses are near perfect or excellent. There is slight and normal wear and tear on some pieces due to regular use. The Zeiss lenses have very minimal use in a corporate film environment. I am accepting reasonable offers of cash or trade, but would like to start at the following prices: Zeiss ZF 25mm f2.8 - $750 Zeiss ZF 50mm f1.4 - $450 Iscorama - $1,000 Ikan HD Monitor - $650 Kodak 80mm-210mm - $150 Nikkor 55mm f2.8 - $200 Letus Extreme 35mm Adapter Kit - $1,000 HD Conversion Lens - $125 Prices are not fixed, I will accept reasonable offers on all equipment. And I have extras, so don't hesitate to ask. Please direct all inquiries to lindsaymann@gmail.com
  12. Looks like party gels on a white cyc to me. Notice Kanye is occasionally keyed by the same color as the wall.
  13. Agreed, Gus. A great crew I went to school with made a feature for around the $30k budget mark (I think), and it went to Cannes' Directors Fortnight. They shot on 16mm too. Their second feature just went to Cannes again. Definitely an organic, creative crew who hire friends as actors, but sometimes those are the best movies. Check them out: www.redbucketfilms.com As far as what to charge, I struggle with that constantly. I always either undersell myself or bid too high and scare them off. I do remember my old boss telling me to raise my rates and I would make more money. It totally worked. I would work for free if the script is good, but not having the right help, and enough of it, REALLY sucks. Crew and gear. Whatever you decide, let us know. I'm curious.
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