Sing Howe Yam

Hey everyone, I'm shooting a short out in Cook, MN. The package I'm working with is a RED Epic, Cooke S4's, etc. I have a few questions about any issues in the cold with the EPIC and S4's in these conditions. The average temp. during the day will be from 15-32 degrees and can get to -10 below at night. I haven't shot EPIC in the cold and was wondering are there any issues? I'm kinda gonna be in the middle of nowhere so I wanna be prepped for it. Also any issues with the TV Logic 5.6 monitors out in these temp.? Thanks!

Number of aperture blades are different on the ZE and CP.2 The ZE series have 9 blades and the CP.2 is 14 blades. I will say this, the CP.2 have great ft markings.

So I've been wondering what the etiquette is to finding a agent to rep a DP. Is it one of those situations where you need to have that body of work or something that created buzz and then they come? Or is it common practice for DP's to basically go shop around and find an agent? I'm assuming either way could work, nice to hear the stories from some other DP's and how they got repped. Thanks Sing

Please check out my new reel! Mixture of music videos to narratives, varying from 35mm to HD. Link: CLICK HERE

The Super Baltars have a soft look to them. It basically looks like a black pro mist or black frost. If you want to get an idea of what they look like, check out the film "The Wackness", that was shot 35mm with the Super Baltars. Also a more recent movie, I've been on quite a few RED shoots with Super Baltars. But each set is different, I've worked with four different sets and they all have a difference in softness to them.

Finished film I lensed last year. It's a short film/experimental music video for Nico Muhly (scored the film "The Reader" and plays a good bit with the Dirty Projectors) Let me know what ya guys think! Happy trails! Camera: Arri 3 Lenses: Zeiss Super Speeds MKIII Stock: Fuji 8563 & 8573 CLICK HERE for the VIDEO

The director I work with loves scope so we talked for a little about the look. He loves the way scope works on a close up, even if its a choker shot you still have this wide canvas. Also we wanted to spread the band out, so the scope helped us with that. And the obvious things about scope, the flares and what not. The band was all steadicam and dolly, there are a few handheld shots with the narrative.

I posted in here after the video wrapped but here is the finished video. Enjoy and let me know your thoughts! Camera: Arri 435ES Lenses: Todd-AO Anamorphics Stock: Kodak 5229 CLICK HERE

So I'm prepping for a feature and I'm looking at shooting on the variable primes on the RED MX. I haven't found too much info about other DP's shooting with these lenses. I was wondering if anyone could drop me some insight on these lenses and personal experiences with them. Be very helpful if any of the experiences were with these lenses on the RED. Things I'm wondering about is vignetting, ramping, how they handle flares and so on. I know these are things I can do in testing, just wanted some insight about them. I read the article on CML that Bill Bennett posted. Just wasn't sure they performed well or not since there isn't much out there about them. I heard that Pan's Labyrinth was shot on these lenses, if so I guess that is a statement about them considering it won the oscar that year for cinematography. Any stills or frame grabs from footage shot with these would be awesome! Thanks!

Are you going to correct in camera or have the lab apply the correction? I think the '19 (all of the kodak tungsten stocks) look great once you throw an 85 on. I've shot a short with 5217 and 5218 (200T & 500T) which were both vision 2 stocks and they looked great together. I actually had to go back and shoot pickups with the '18 on a scene I originally shot on the '17 and it matched fine. I rated the '18 @ 320 to thicken the negative but it looked fine. I think with the 5219 you'll be even better with the grain structure. Like Mr. Mullen said, it's like splitting hairs. I've shot 5218 and 8573 in the same shoot (budget reasons and recans...) and I was shocked how much they ended up being similiar. I had a hardtime figuring out which stock was which when the dailies came back in. Not recommended, but a lot of stocks seem to be more for acquistion nowadays. Happy shooting Francisco! Is this the anamorphic shoot? Let me know if I can come pull sharps for ya!

Thanks Tom, Cedric is the man. The coolest steadicam operator I've met and very very good, very positive attitude on set too. I recommend him highly to anyone who is looking for a steadicam op.

sorry for some reason the link won't work. this one should be fine ---> BLOG

Hey guys, I just recently wrapped on shooting this music video. Check out my work blogspot here ----> WORK BLOG

This looks really good, I disagree about the three shot being flat. I love the dimension of the shot being a reflection off a mirror, the little lamp that hangs in the foreground adds a nice depth to the shot. You must be stoked on the look, I dig it a lot man. Let me know when this movie finishes, I would like to see it. Did you do a lot of booklights by bouncing those 500w photofloods into a bounce source and then back through your muslin? Cheers man, this stuff looks awesome.

ROB: Unfortunately the project was canceled, well the director and screenwriter had a conflict and the writer left with the script. It was an odd experience though. Just a couple days before I got the call about the project being canceled I scheduled everything for a camera test in San Antonio and the director was talking about giving me part of my pay upfront the next week so he could feel more comfortable about asking me to do more prep work. I was shocked by that and then blam, the project is shut down. Real bummer. RICHARD: I completely agree with you on the 35mm vs. RED look. The only reason I put together a RED package was based on the budget. When the project was a go we had a good bit of night ext. w/ a process trailer for probably at least 1/3 of the shoot. The budget just didn't seem right to be done on 35mm and at the pace we needed to go either. But after the director looked at more RED footage he opted out and went and found more money just to shoot 35mm.