Spencer Hutchins

I guess my next question (knowing it wasn't shot on film) would be weather or not they used any camera painting options during production. Or would they more or less do this correction during the span of post?

Very helpful information Adrian! Never thought about sending in DSLR images of the scene with photoshop corrected images to help your colorist. Do they respond well to these images? Do they really help aid the colorist in getting your final look? Also, in this night int. scene, the context of it is that it is always a struggling time for the characters within this house. Are there any suggestions as far as mixing color temperatures (green, yellow) and playing with high contrasted faces or anything else that would help benefit the feel we are going for? Thanks for the help!

Although I don't think many would see this movie as groundbreaking cinematography, I did however enjoy the exterior scenes in which the muted colors and over exposed skies were utilized. Also, specifically in the scene where Gerard Butler is running from the over zealous Russians, there's a very...gritty, realistic? feel to it. Being that I am still a student, and haven't worked all that much with film I was curious of professionals opinions about how both of these were achieved. Was it indeed all about the secrets to cinematography and specifics Mr. Higgs did as far as stock, camera, lighting? Or was it just a great collaboration with those departments meshed with art direction, wardrobe and make-up? Thanks for taking the time to read!

Dang, no bueno my man, sorry to hear about that! Although, I do appreciate the tip. As far as testing beforehand with a DSLR, do you personally do this before any production you shoot? Or is the testing normally done only when something new to yourself is being attempted?

So I guess the next step in deciding how blue I would need the color would be to go out and put myself within a similar scene. Do you happen to have any clips from how your Night Int. have turned out? I would be interested in seeing the results of specific colored lighting, results from 3/4 CTB or 1/4 CTO. Thanks for the post!

I have a 35mm thesis film coming up where I want to light a realistic contrasted Int. night scene. Reading in previous threads I realize that the realism will come from good observation from the scene I am trying to portray, but I am still unsure how to create a realistic color temperature and intensity of moonlight. What I'm really asking for is what have the experienced done before with lighting this type of scene, and what film stocks have been used to help aid the look? Thanks for the help!

So I've really been wanting to find some cinematographers on Twitter (www.twitter.com). It's an online social network in which user updates can be notified to their 'followers' instantly via text. I myself would love getting Twitter updates to my phone of something new someone learned on set that day, or a connection someone made. If anyone is already connected to this site, or wants to be, let me know and lets get this started! :P http://twitter.com/spencerhutchins -Spencer

Thanks for the replies! I'll have to go check on the other threads. Is there a link with some templates of camera logs? Thanks again -Spencer

I am a student trying to get into the Camera Department, what kind of the gear and items would you suggest to get in the beginning? I have already ordered Douglas C. Hart's "The Camera Assistant" for starters. ;)