Spencer Hutchins

I was able to get on a commercial shoot the last couple days that was shot with the Genesis. From what I understand, the use of a slate for the camera is obsolete due to reasons (which I would love to hear from everyone) but at times they did in fact use the slate. Any reasons why they might have done this? Thanks as usual!

Great information once again David! Thanks for keeping us right there with you on what your doing, always very helpful.

Some of them are HDR images, and others color correction was obviously used to balance and boost certain colors. I do go to Full Sail, are you also a student?

Great work Andy, very impressed!

Really enjoyed the reel Nacho, and being that a reel is suppose to show what you have done and can redo for clients in the future, I felt the nude shots worked. I believe it showed variety in the environments you're able to work within. Great job!

Few photos, but please let me know your opinion! http://www.flickr.com/photos/30236020@N05/ Thanks, Spencer Hutchins hutchins.spencer@gmail.com (903) 262 - 7300

Capish James ;)

I apologize for my ignorance, but can someone please take the time to help me out with reading film stocks. I understand what the 50D, 500T are and know that 72=16mm while 52=35mm, but am unsure of the numbers that follow.

Now that I think about it Living in Oblivion used the B&W to Color very effectively. Thanks for the suggestions.

Awesome information guys, really benefited from it! I'll be checking out all the films mentioned.

I figured trying to add color to a film stock would be more difficult then taking it away. Thanks for the conformation!

So as far as "rules" to doing this or not, there are none. The only factor would play in making sure the change from A to B or A vs. B is appropriate for the change of the saturation and overall look? Has there ever been a time where although the environment has been established with the look you have given it, you changed the look to express the feelings of the character instead? Is this justifiable? Simon, I will check out both of those films as well. Any specifics to keep an eye on as far as the changing of the look?

I know this hits a lot on subjectivity but i was hoping 'the experienced' could put their 2,3,5 cents worth on whether or not they can justify starting with an unsaturated look in their film and change in the next scene to a saturated look? good? bad? eh? Thanks.

I recently posted a thread about getting a lower saturated look, but what about the opposite? Are there ways in processing to get more saturation? And as far as filters, what are some specifics people use to help achieve this? Also, are there any books the specifically deal with filters? Thanks again fellows.

Good call Michael, can't forget lenses always provide more clarity to the images.

On the other side, my assumption is that there are just as many developing processes to boost the saturation. What are some of these processes and specific filters you all have used and have gotten results from? Also, are there any recommended book for specifically filters? Thanks again, fellows.

Thanks everyone, a lot of stuff I need to get familiar with from your information before continuing. Thanks again!

Great Information, both John and Chris!! ;) Thanks guys

So being from a film school, I often hear of these important instances that students (people who know nothing) freely throw around their 'genius' to each other on topics. So with that being said, I am usually confused: When your final project will be going SD, does shooting HD and down-converting to SD indeed give you some kind of better quality, or is SD in fact SD no matter where it comes from? Again, sorry for having to ask these questions but thank you for your time.

This might not be in the perfect thread category, but are there suggestions and tricks for shooting in production to help aid a low saturated (muted colors) development? Would trying to obtain rich, dark colors on set help with the look of a low saturated image with crushed blacks? Thanks for reading.

From the experienced Camera Assistants out there, what is the most important aspect of the 1st or 2nd camera assistant's responsibilities that should be the most practiced from a student about to enter the industry? Thanks in advance.

Thanks for the info Chris! I guess when I was worrying about the face of the talent I was more concerned about the shadows on his face, (light would be above and behind talent) if that were the only source in the scene.

Never thought about this Matthew, hope to find out.

In my thesis film coming up, a scene requires the lighting of "isolated gray cell". I want the cell the have one source of light but achieve the look of a black to gray gradient falling down the wall. My plan at this point is to rig a space light from above with a skirt. This would fall straight towards the bottom of the walls (exposing the gray) and slowly lose light toward the top to fade to the black. How would this effect the talent's skin tones, and would the direction of the light play with the talent's facial features? Any other suggestions, problems, or better ways to do this are very much welcomed! Thanks for reading!

I like the idea of have 'the range' rather than 'the mix' of the color temperatures coming from another room. Seems it would give for one, more contrast and have a lot of dark portions in the scene... and two make it a more interesting image to look at with the distinct two color differences. The idea kind of reminds me (and I humbly say this knowing my incompatibility to his work) of Mr. Conrad Hall's "American Beauty", in the WS of the scene where Kevin Spacey goes outside to 'party' with Wes Bently. (Couldn't find an image) I understand how having a practical on would in real life over power the moonlight coming from a window, but is there a way to keep both these color temperatures visible is she was reading during the scene? Maybe the lamp doesn't have as large of a spread, or is focused somewhere else particular? Thanks for the replies guys!