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Austin Schmidt

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Everything posted by Austin Schmidt

  1. Looking for experienced 1st AC/focus puller in San Francisco Bay Area. Check out this Friday February 20th and shooting the 21st and 22nd. $300/day. If interested please contact me off list at info@austinschmidt.com Send along resume, references, and bio.
  2. Hello all, facing a very specific light bulb situation and curious if anyone has figured out a solution for something similar. We're shooting in a hallway with practical ceiling units lining down the center of the hallway. This isn't necessarily that big of a problem if the camera just stayed in the hallway as I could just color correct the green out in post, except for the fact the the camera will follow talent from the hallway into their apartment in many scenes which is illuminated by big windows of daylight. The disparity of the CFL's and the clean daylight make the hallway look garish and aweful so I'm trying to figure out a way to clean up the light quality. The CFL's in particular are GX23-2 2pin base. They do not except adapters to medium base. They do not except high wattage CFLs to overexpose a little and clean up the colors a bit. They are outputting so little at 13w that wrapping them in gel will kill most the output. The director wants to see the symmetry of them in the ceiling as we walk the hallways so we can't turn them off and just illuminate from the other end of the hallway. Is there any other "tricks" any of you have found that might address this issue?
  3. Needing to locate a set of Lomo Spherical lenses in NYC. Can't seem to find them at any rental house. Does anyone know of a set available through a rental house or personal owner there?
  4. I am unavailable for a color timing session. In the past I have always had two monitors that were calibrated to "match" be available to the Colorist and myself in our separate locations so that I could send color corrected stills to communicate the look of the images. This has always cost a certain amount of money and this time a Colorist recommend we use IPad Minis to save cost. According to the Colorist the screens will match as long as the IPads are the same model. This is obviously not the optimal method considering the IPad mini's shortcomings in color space and general viewing size to monitor color correction, but in a pinch as long as the image is consistent between the Ipads it might be handy in a pinch. I don't believe the screens can really be calibrated like regular monitors, so does that mean they all should look the same right out of the box with the factory settings? Has anyone used this method before or have any positive/negative experiences with this?
  5. "Man On Fire", another Tony Scott Film, has a lot of Ektachrome work in it. "Three Kings" also used some of that stock.
  6. Thanks David. Either will do fine. For anyone else interested my 1st AC also recommend three other heads with similar capabilities; the Talon Head, The Carbon Head and Kessler's Revolution Head. I've used Hot Gears in the past and it was rather easy to use without a technician. Its great to have these other options though to see price-wise which one fits in our budget.
  7. What camera support/head can be programmed to repeat a simple pan and tilt movement 180degrees on a tripod so as to layer a character repeatedly in a shot? 3-axis programming not needed.
  8. For sale. $9,000 or best offer Moviecam Super America 35mm Camera Package- Full gate gg w/ Movieglow system; 1" onboard monitor w/ B&W video assist; 9" external monitor; top load mag adapter; 2x 1,000 digital mags; 2x 400 digital mags; spare circuit boards; 3x battery packs; bridge plate w/ rods; pistol grip; 2x XLRs; cases for all All equipment is in great shape. Contact me off list if interested.
  9. Grad Fog Filters are not common to my knowledge. I would recommend contacting Stan Wallace at the Filter Gallery in NYC. He is the guru on specialty filters. If a filter doesn't exist, Stan always finds a way.
  10. For sale. $12,000 or best offer Moviecam Super America 35mm Camera Package- Full gate gg w/ Movieglow system; 1" onboard monitor w/ B&W video assist; 9" external monitor; top load mag adapter; 2x 1,000 digital mags; 2x 400 digital mags; spare circuit boards; 3x battery packs; bridge plate w/ rods; pistol grip; 2x XLRs; cases for all All equipment is in great shape. Contact me off list if interested.
  11. I often use a contraption called a magic gadget flicker box. It has many settings to "mimic" firelight/tv/candle flicker etc. I would recommend getting one with three 20amp channels. That way you can connect three separate sources, each with different gels and intensity if necessary. From there you can individually set a high and low point and alter the flicker rate to taste. This doesn't require any of your crew to be used during the shot, allowing them to be utilized elsewhere.
  12. The director would like a relatively "simple" shot from a fairly high overhead angle of a location. The shot only requires the camera to pan and tilt. The director wants to get at least 120+ ft above ground level with the camera. . To get reach that height my thought was to employ a 135' condor lift with a max basket weight of 500lbs. After sleeping on it I will admit to some hesitancy of putting myself and a 1st AC up that high. I'm not sure what an unsafe wind level will be at that height, but I presume even just a little will put us in great danger of tipping over (the base diameter of the condor is 12'6"). Are there any other safer ways to float the camera at that height? A suggestion has been to use a helicopter, but I figured a helicopter wouldn't hold the shot as stable in place as is needed. Any thoughts?
  13. For sale. $16,000 or best offer Moviecam Super America 35mm Camera Package- Full gate gg w/ Movieglow system; 1" onboard monitor w/ B&W video assist; 9" external monitor; top load mag adapter; 2x 1,000 digital mags; 2x 400 digital mags; spare circuit boards; 3x battery packs; bridge plate w/ rods; pistol grip; 2x XLRs; cases for all All equipment is in great shape. Contact me off list if interested.
  14. All books mentioned above are great ones that I recommend to my students when it comes to technical and aesthetic questions. I would also recommend a book that I recently published (yes, I'm hawking my own wares) that talks about the beginning stages of any cinematographer's career as they climb the film set "ladder" or navigate through film school. Many chapters focus on the business side of the job and how to mold personal passion into a viable career. It does not provide a guaranteed "How To", rather plenty of insight for every young potential cinematographer to consider as they begin their journey. Topics range from joining the union, getting an agent, film school vs the ladder, and strategies on getting yourself out there. So You Want To Be A Cinematographer? ... Life Behind The Lens It was reviewed by our own David Mullen as well as Blain Brown, the author of many highly regarded cinematography books. "This book is an honest and accurate account of what many cinematographers go through at the beginning of their careers, and there are few books like it out there. Hopefully a beginner reading Austin Schmidt's personal experiences will learn what opportunities and minefields lie ahead for them and plan accordingly." -M. David Mullen, ASC Cinematographer and co-author of "Cinematography (Third Edition)" "It presents an excellent overview of what is involved in working as a cinematographer and what is involved in becoming one." If you are thinking you might want to be a cinematographer, you should read this book. Once you decide it's what you want to do, then read my book." -Blain Brown Author of "Cinematography: Theory and Practice" While this book is a lot more than what the title implies it still addresses the questions that many students of the art of cinematography will ask. The author has written from his personal experiences in detail. While others may encounter very different experiences or situations, the basic idea is there. I know that many beginning and most experienced cinematographers will be able to relate to Mr. Schmidt's travails. For those wanting to have an insight into what awaits them in the working class below-the-line world there is a lot to be gleaned from his writings. -Roberto Schaefer, ASC, AIC
  15. I can't speak to exactly how Kieslowski achieved that shot, but I was asked to recreate it for a film once and was quite successful using a Zeiss/Arri macro 100mm lens. Using macro's require a lot of light. But remember, to see the character's reflection in the eye ball it needs to be even brighter in the scene. For my particular circumstance, I lit the face to a f/5.6 which was the widest the macro lens could be, but I had to light the character's reflection in the eye to a f/8-11. Shooting at 200ASA meant the lights on the actor were extremely hot so be wary of makeup that doesn't do well under heat. Also, the depth of field is miniscule so we had to stabilize the person's had so it wouldn't move back and forth too much.
  16. I'm potentially using American DJ megabar LED's for a music video in which we will be shooting up to 120fps with a shutter of 90 and 45. I realize consumer LED's have a flicker undetectable to the human eye, but assume they would be noticeable at higher frame rates. Is this the case for professionally built theatrical lights as well such as these specific megabar LED's? I'll be doing tests this week, but was looking for any outside perspective. Is it just a matter of shooting at 60hz safe frame rate/and shutter angles when it comes to LED's?
  17. Elias, one thing I did when I first started out was visit all the local film schools and post fliers on their production bulletin boards. Yes, fliers seem outdated but it still worked. Also, at the beginning and middle of each year, their production workshop classes start, so I would contact the professors and ask if I could stop in at the beginning of their class and use five minutes of their time to show my reel and pitch myself. They were always more then happy to let me. None of the student jobs paid, however, it created many working relationships that turned into paying jobs later down the road, it really helped improve my reel and it bettered my pitching skills. There are many things like this which I discovered along my way to becoming a working cinematographer. I have written them down for aspiring individuals such as yourself. You can find the book below at http://www.amazon.com/Want-Cinematographer-Life-Behind-Lens/dp/145632246X/ref=sr_1_1?ie=UTF8&qid=1300118517&sr=8-1
  18. I recommend you apply to all the ones you want whether you think you will be accepted or not and decide once you are admitted. The worst they can say is "no". Thats something you'll have to get used to throughout your career. AFI said no to me twice before I was admitted. There are many other good schools in LA to consider. Do some research and you will find lots of options. Remember, the film school doesn't make a student. You get out of it what you put in. A school that claims they move most of their students to LA is false. A school has very little to do with their students after graduation. I attended NYU, AFI and FAMU in Prague. Very few of my fellow students still work in the industry. And the ones who still do all found different ways to create a living from their education. The books I recommend are: Cinematography: Theory and Practice – by Blain Brown: The title is self-explanatory. Brown skillfully addresses theoretical practices when visually telling a story. He also speaks on the technology used to tell that story such as optics, light, photochemical processes, and equipment. This book has been my bible. Practical Cinematography – by Paul Wheeler: Similar to Brown’s yet different, as Wheeler is a British cinematographer and his take on specific topics is sometimes different. This exemplifies how our craft is based on personal preference and experience rather than technical data. Cinematography: Third Edition - Kris Malkiewicz and M. David Mullen: A technical book as well, similar to the two above. All present the same knowledge, just present in a different way that may make more sense depending on the reader. Masters of Light – by Dennis Schaefer and Larry Salvato: A compilation of interviews with several famous and influential cinematographers such as Conrad Hall, Haskell Wexler, Gordon Willis and Owen Roizman. Each cinematographer offers detailed insight about his career path, philosophy and technical approach to specific films. Every Frame a Rembrandt – by Andrew Laszlo, ASC: Laszlo relives five different productions from his career, recounting the process of each from pre-production to post. Reflections: Twenty-One Cinematographers at Work – by Benjamin Bergery: Provides detailed techniques in the form of illustrations, diagrams, still frame reproductions and knowledge of twenty of the most honored cinematographers. This is a personal favorite and must-read for any aspiring student. New Cinematographers – by Alex Ballinger: Contains extended studies of six young major cinematographers in today’s Hollywood system. The book evaluates each cinematographer’s films, up to the book’s current publication date. I know it sounds like I am shamelessly plugging my book, but I highly recommend reading it since it was written for individuals like yourself. I spent four years writing about the entire process I took to becoming a working cinematographer. There is no book available that discusses such a wide range of topics useful to a young cinematographer. Why you say you found few helpful, what do you mean by this? What are you expecting to learn from them?
  19. There are several important factors to consider when looking at film schools. Many have been touched on above. People believe that attending a “top” film school will guarantee them a job as DP after they graduate. This couldn’t be farther from the truth. Whether you attend AFI or your local community college, the road to becoming a working DP is exactly the same and is always difficult. Can going to film school improve your chances? You bet. But almost all films schools offer the same basic education. Only so many things can be taught in a classroom. Most of the learning happens on set and is up to an individual to self-educate. Schools like AFI, USC, and NYU are great however, they teach from the same books and use the same equipment as every other film school. The location of your potential school is very important because that is the city you will more then likely begin looking for work after graduation. While in school it is important to cultivate relationships with other filmmakers, rental houses etc. and become part of the local film community. It doesn’t really help to attend a film school in Utah then move immediately to New York. You will have lost and or/wasted a lot of time by doing so. If you want to work in Florida, attend a school in Florida. If you want to work in LA, then educate yourself in LA. Like I said there are many important factors to consider. I recommend you look at a book I have recently published that discusses these as well as many other elements to guide young cinematography students towards their goal to becoming a working cinematographer. It will shed light on a lot of the mysteries surrounding the occupation and help you focus your goals in the direction that best fits you. It is called “So You Want To Become a Cinematographer? … Life Behind The Lens”. It is available at Amazon.
  20. For sale. Moviecam Super America 35mm Camera Package- Full gate gg w/ Movieglow system; 1 onboard monitor w/ B&W video assist; 9 external monitor; top load mag adapter; 2x 1,000 digital mags; 2x 400 digital mags; spare circuit boards; 3x battery packs; bridge plate w/ rods; pistol grip; 2x XLRs; cases for all All equipment is in great shape. Contact me off list if interested.
  21. My name is Austin Schmidt and I am the author of a recently published cinematography book, “So You Want To Be A Cinematographer? … Life Behind The Lens”. This book tells of personal experiences, thoughts and observations to becoming a working cinematographer from a realistic and fresh viewpoint. From agencies, to unions; marketing strategies to reel formations; film school versus the ladder, and many other aspects of the craft rarely discussed in our competitive field, this book is unlike any other available. It is directed toward: -High School students considering a path in film production or film school with a focus on cinematography -Film students studying cinematography -Individuals just beginning their career as a cinematographer. BOOK REVIEWS "This book is an honest and accurate account of what many cinematographers go through at the beginning of their careers, and there are few books like it out there. Hopefully a beginner reading Austin Schmidt’s personal experiences will learn what opportunities and minefields lie ahead for them and plan accordingly." - M. David Mullen, ASC Cinematographer and co-author of “Cinematography (Third Edition) “While this book is a lot more than what the title implies it still addresses the questions that many students of the art of cinematography will ask. The author has written from his personal experiences in detail. While others may encounter very different experiences or situations, the basic idea is there. I know that many beginning and most experienced cinematographers will be able to relate to Mr. Schmidt's travails. For those wanting to have an insight into what awaits them in the working class below-the-line world there is a lot to be gleaned from his writings.” -Roberto Schaeffer, ASC, AIC (Quantum of Solace, The Kite Runner, Monster’s Ball) "It presents an excellent overview of what is involved in working as a cinematographer and what is involved in becoming one. If you are thinking you might want to be a cinematographer, you should read this book. Once you decide it's what you want to do, then read my book." - Blain Brown author of “Cinematography: Theory and Practice” The book is available for purchase online at Amazon.com The direct link is below: http://www.amazon.com/Want-Cinematographer-Life-Behind-Lens/dp/145632246X/ref=sr_1_1?ie=UTF8&qid=1293309593&sr=8-1 
  22. $19,000 (or best offer) Moviecam Super America 35mm Camera Package- Full gate gg w/ Movieglow system; 1 onboard monitor w/ B&W video assist; 9 external monitor; top load mag adapter; 2x 1,000 digital mags; 2x 400 digital mags; spare circuit board; 3x battery packs; bridge plate w/ rods; pistol grip; 2x XLRs; Mitchell/Arri geared head; Ronford F15s fluid head; Ronford HD tall and baby sticks; high hat; cases for all. Email me at info@austinschmidt.com if interested for more details.
  23. Thanks for the Pace recommendation Hal. Will check in with them. I've been looking at Edmunds catologue for a bit and their splitters aren't too bad. Technically I can build the kind of rig I'm looking for, I would just like to ask some questions to an individual who has experience with this kind of stuff before I start spending production's money.
  24. I am trying to research and get my hands on a beam splitter with a 50% transparent mirror (and dual ports if possible to simplify rigging the two cameras to it). Does anyone have experience with this type of tool? Is there a facility that would rent it out so I can do tests?
  25. $22,500 (or best offer) Moviecam Super America 35mm Camera Package- Full gate gg w/ Movieglow system; 1 onboard monitor w/ B&W video assist; 9" external monitor; top load mag adapter; 2x 1,000 digital mags; 2x 400 digital mags; spare circuit board; 3x battery packs; bridge plate w/ short rods; pistol grip; 2x XLRs; Mitchell/Arri geared head; Ronford F15s fluid head; Ronford HD tall and baby sticks; high hat; cases for all The equipment is in great condition and has been maintained by technicians at Clairmont Camera. The equipment is located in Los Angeles California. Please call 917-589-1350 or email info@austinschmidt.com if interested.
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