Jeff Kolada

This camera is in great shape. Signs of light normal wear visible, but is fully functional and records brilliant video. The heads are in great shape, and in-camera playback has been very limited to save wear on the heads. I only use sony tapes to prevent lubrication buildup in the camera. Package contains: Camera -Custom-fit Hardigg Storm Case (Black with green lining) -Sony HVR-V1U Camcorder (3,200 Retail) -Century Optics .56x Wide Angle Adapter (Bayonet Mount) (530 Retail) -Raynox .3x Fishete adapter (170 Retail) -Sony On-Camera Video Light (Shoe mount chipped) -2x Sony Batteries (1 large, 1 small) -Shotgun Microphone -1 Head Cleaning Tape -Component and Composite Video Cables -A/C Adapter Deck -Sony M15U HDV/DVCAM/DV Video Deck -Firewire Cable -Power Cable $4,000 for the whole kit. jeff@jeffkolada.com for more info/pictures. Located in L.A.

I was interested to see how other people work in regards to shot selections. I know I usually try to shotlist with the director and keep true to my shotlists on set, then I adjust my shots to fit the location. I usually have locations scouted and at the least have photos of the locations. Last weekend I showed up on set and after looking at the blocking with the scene I almost completely changed the shots that were in my mind/on the shot list. Everything was with the director's consent, and it didn't screw up wrap times. My question is, how often do you go to a location to shoot and change up shots because something works better? And how big of adjustments have you made? (As much as I'm sure the AD dislikes...)

I'm looking for any books or blogs or just about anything that discusses the aesthetics of color correction. The differences in colors, what works best where, how to achieve a certain feel, CC for broadcast, for projection, etc. Anyone have any good books or references?

What are some films or cinematographers who use insert shots very well? I always have trouble with insert shots and making them fit cleanly in the scenes. The angles always seem tricky to me, having them cleanly cut with wider shots. Thoughts on insert shots in general or films that use them well?

Corrected in Apple Color. This was my first longer and more complex production with the 5D, and after dealing with daylight, tungsten, and a mix in-between, that camera is made for outdoors. It really doesn't handle well with color temperatures below about 4500K. All the tungsten stuff, balanced at 2900, still came out extremely warm, and alot of the skintones started to blend. I'm surprised I was able to save as much as I did.

We shot with a 5DmkII and zeiss primes. I give a ton of credit to our production designer for making the movie look as good as it does. the sets and costumes were amazing.

This short film was shot as part of a class at Ohio University. I know the trailer is quick, but hopefully you can get an idea of the movie. Let me know what you think -Jeff or in HD: or in quicktime if you prefer: http://www.jeffkolada.com/schartz/smm_30sec.mov

So i'm going into production on a short that we are shooting as the director calls "entourage-style" handheld. Shooting on an EX3 with a letus adapter. So the rig weighs 20-25 pounds after support, letus, lens, monitor, etc. It's an 8-day shoot, mainly handheld. What do you recommend to save my back from croaking out after day 2? I would say i'm decently fit (considering i'm 21), but I know it's gonna be rough. CVS-style back brace? It would add a bit of support but not look absurd. What have you used for heavy rigs and long shoots?

What are you shooting with and how much light do you need? I would say use a lot of candles, or two-wick candles. That's probably the cheapest way. When shooting to mimic fire/candles, I usually use a constant source as a base 2 stops under key, and use the candle flicker to highlight the image. You could also use a propane stove and crank it up a bit to give a firey effect.

I recently shot a scene for a movie with a glidecam 4000 that I own, unfortunately I greatly underestimated the weight of the rig I was using. (5D, canon 17-35 with zacuto rails, ff, mattebox filled with NDs, and a marshall monitor strapped on the back.) It ended up being incredibly heavy and all supported by my weak wrist. Three takes and I was shot. But if you're just using a DSLR and lens (no AKS), the glidecam 2000 or 4000 will do perfectly well for you. And they're about half price of what you're looking at. http://www.bhphotovideo.com/c/product/1938...tabilizing.html

native 7D footage captures in h.264 which Final Cut doesn't appreciate. You have to convert all your footage to Prores 422 using mpeg streamclip or compressor before you can edit anything comfortably. Had to do this with two short films recently.

full CTB takes a full stop of light away from anything you put it in front of. So usually if you're going to CTB a light, it should be twice as bright as you would have it without a filter, or closer to the subject. I am assuming you're using full CTB. FullCTB: 1 Stop Loss HalfCTB: 3/4 Stop Loss QrtrCTB: 1/2 Stop Loss

So you're on a student budget shooting in a studio. What kind of equipment do you have available to you? Also, what are you shooting with? Your set will be the most important thing, and if you don't have the background look like a warehouse, lighting won't do anything for you. But all of that aside... I'd say take some high-powered fresnels, blue 'em up, and snoot them to create the patterns you are looking for. If you have the depth and set design available, I would fill the whole area with a base ambience to set the scene, and then key with those fresnels. Have smaller units or bounce cards ready to add fill for close-ups. If moonlight is the only light you are motivating from, that's all you should need. But I would think about adding some other light in there motivated from a security light or something.

Haha, thanks guys, I appreciate the help. Looks like the "gay-arm" it is. Yeah, I stopped by a local grip/rental house and chatted with the owner. He showed me both the c-boom clamps and the matthews boom thing. Both are valid options. I'm not really feeling using speed-rail to make a "menace arm" due to having a very limited/light stand inventory and children running around the set.

I did a bunch of handheld work on a dolly for a recent short. Myself and my AC were strapped to a doorway dolly (and by strapped, i mean literally were held to the front and back with tie-down straps) so we wouldn't lose balance on quick starts and stops. Keep in mind we were shooting on zero-budget so it was the "do whatever works if its' cheap" approach. So yeah, I was handheld with the camera while standing on a doorway dolly. I really like the way it looks, alot smoother than trying to run backwards with a camera but not as smooth as a steadicam which is what I was going for.