Kyle Geerkens

Frank- I'm not too sure how the U.S human rights work, but you should check out the Canadian Human Rights website http://www.chrc-ccdp.ca/legislation_polici...minatory%20acts. If you scroll down you will see that it states -"Discriminatory notices A poster that encourages discrimination is illegal. Hate messages Internet and pre-recorded telephone hate messages are forbidden." You should be careful with what you post. You don't know who you are negatively affecting.

I was recently asked to DP for a small shoot in Toronto. Very basic, they were an inexperienced bunch who wanted some "expert" (student) advice. They shot on the xL1s, and I noticed that the agin settings are massive! how much noise am I looking at as i increase the gain. I noticed theres a very noticeable difference bewteen the highest setting and the next whihc is a whopping +18db. Are these settings relative to other camera's or does a +6Db on the xl1's equal a different amount of gain on other cams?

Thomas, how was the recoil done in your gun test footage? did the actor move her arm herself or was she tugged? also did you paint in your effects yourself or purchase pre made flashes and smoke?

thanks everyone very helpful. Im definitely going to be doing this in post. most likely painting it in myself. thanks again

excellent advice guys! thanks a lot. I think i'm going to check out after effects for plu-ins as mentioned. If they're good enough looking thats my best/cheapest bet. otherwise its danger all the way!! thanks again

Hi, I'm shooting a dramatization for a historical Doc next month and im trying to work out my options for an assassination scene. The assassin is seen mainly in silouhette until he raises his 19th century pistol into view (POV) and fires it. now my question here is mainly budget constrained. If i find a replica period gun, im reaasonable sure I'll have a hard time being able to fire blanks from it. I also can't imagine how I could possibly make this scene believable without the barrel flash? I must have this! Sooooo.... is there a way for me to get a realiztic looking flash in post? (without too much hefty software) FCP-HD is what im using along with standard Mac software. Or.... any ideas on making this flash actually happen??? thanks

Dumb question.... if you key the frame in over a sheet of paper as mentioned earlier, then start your camera move, how does this work without the keyed image itself moving. I have limited experience with chroma and i thought as a basic rule you cant do much with your camera position? Is this all attained with software?

sorry for the late reply. my camera is the panasonic HDC -20

Thanks Michael, I'll put your suggestions to good use! we've now substituted black curtain as the background. I'm then going to cast a gobo of the show's logo behind the subject. Thanks again

Thanks, Can you describe "top chop"? I don't actually have a good reason for the white background except to say that this is what the director has asked for. In my understanding, the enhancement of this blank background is intended to be subtle, thus simple shadows will suffice. I was thinking of using the fill technique you mentioned. Essentially what I would like to avoid is harsh straight lines on the face such as the one down the middle of your face in your bio picture. BUt removing the key light and using only soft fill will help with that. one more question (please bear with me), the light dark contrast that you descibed between foreground and background seems fairly boring. I know with so i could throw on the wall that wouldn't compromise the simplicity? Thanks

Hi, I've been reading these forums constantly since I joined. You've all been a great help to me. I'm looking for some advice on how to light for B&W (HDV if it matters). I have no black and white lighting experience and I'm trying to make something really simple look exceptional. Basically, its a medium shot interview segement on a blank white background. Any suggestions on what i could do with shadows on the wall to give the background some character? I have some ideas in mind but I'd like to know some other opinions. Thanks

Hi, The equipment is not in my hands right now. I'll follow up on this post once i have it locked down. thanks

Hey, I'm also not sure if this is what you want but here's the link to Ryerson University's paperwork guidelines. http://www.ryerson.ca/rta/handbook/tvpaper...ghting_plan.htm Kyle Geerkens Radio and Television Arts Ryerson University Toronto, ON

Hi, So I've been experimenting with colour correcting within my HD camera. It's a long annoying process to use the menu system to adjust the guns. So I figure there must be some software that will allow me to set all my settings and then save them onto an SD card and load them into my camera when i go to shoot. Is this possible? It would save so much time! Thanks

thanks everyone. i think all input will be very helpful.

Just wondering what all you highly talented folk think is the most visually appealing painted scene? post or cam.

I'm no pro.... yet but I dont like to limit myself with sticks. I always have them with me for interviews, just in case, and i agree that at a premiere a tripod would definitely suit the desired look of the stars. I do however, really appreciate the slight movement of a good shoulder interview. I find in some cases it can really boost up the existing 'energy' of a clipand a subject. Dpeending on your subject I say. An dull interview with the 95 year old CEO of Pulp and Paper Industries would probably not be the best time for me lose the sticks.

Thanks for replying guys. In response to your questions David: The type of car has yet to be decided, one occupant, with dialogue (but theres no problems with that for me), driving through the city. I'll be shooting simply with a Canon XL1s. Very low budget. I've been hired on by a Toronto group to be their DP. I've never shot a moving vehicle scene before, and the night thing I really could use some tips on. Appreciate it. Kyle Geerkens Ryerson University Toronto, ON

I'm preparing to shoot a scene in a moving vehicle at night. I have slim budget and I'm trying to get some input on how to shoot this scene effectively. Specifically, what should I do to give this a believable look, and do you think that keying the exterior is best or should I work with a moving vehicle and natural exterior. I know there are posts similar to this, however they haven't really asnwered my question. Thanks Kyle Geerkens Ryerson University Toronto, ON