Paul Brenno

the BEST thing to do with lighting is light for your story, but not for your reel !!! it is great to hve key/fill and backlight, if you can light for atmosphere, great.....

yeah, that's what I figured....thanks

Thanks Adrien...I also see little differences myself, only the settings are in different places and the EX3 is bigger, more like a shoulder mounted camera...... I was shooting with the EX 1 (studio setup with gelled lighting), then switched to the EX 3 one day, the Producer was panicing since it's a different camera, thought the look would be different....

Can anyone tell me the basic difference between the EX 3 and EX 1 ?? I'm wondering about color, if there are any major differences ??

Does anyone have experience using the Varizoom VZ-Stealth zoom controller or one similar to this ?? I work with a Sony Ex 1 & 3 and the camera is not setup like regular cameras I've used, so any critiques on it ???

This might be an obvious statement/reply, but I would HIGHLY subsrcibe to American Cinematographer magazine/website.....There is also a book out called " Reflections " about DP's lighting on scenes.....

I have also learned, being a full-time DP now for 5 yrs (currently outside Hollywood/NY), that ANY DP is HIS own worst enemy when it comes to being your own critic. Being confident about ones ability is a given, but not the ego it might also bring, since then you will get more angry than depressed when a shot or shoot does go right. I've shot some award winning work, from 1/2 hour prime-time programs to doc's (local productions) and I have often cringed at how I shot something when looking back at my work. I agree with you all, big problems are time and money....I've worked with vastly different equipment from BetaSP to DVCAM to P2 and now SxS cards, (lightweight to heavy cameras)....seems the problems don't go away, just changed to different people and locations and equipment.... Even though I haven't been depressed at my work, in looking back on it, I " wished " I would done something different, like shot from different angles or lit from the other side or something....what makes me angry though, is often on location, shooting as a one-man band (camera/lighting/audio) and not being able to get THE shot you want, but going w/the shot you have, to make sure you HAVE the shot in the can....afterwards, showing the Executive Producers your work, hoping they like it. I've been studying Çinematographer (all aspects) for the last 20 yrs, so it's very personal to me, so when people critique my work, it's personal !!! (not a good thing)....the feeling of failure however does come to mind on a shots I know I can do better, but given a rush shoot (run & gun) or just shooting an event with no second takes, failure creeps in to my head, NOT depression....Depression only comes when I'm NOT working, due to being terminated or being laid off, which has happened before.....

Hello All, there is a Videographer/Editor position opening in Bismarck, ND at KAT Communications. www.katcommunications.com KAT is a full service agency and growing. If you are interested, please send resume....

Glad you liked the video link I sent....if your Dad is a Grip (from your response) THAT is an excellent way to " get in "....no guarantees I'm sure, but at least he can introduce you to other pros in the field like Grips, Gaffers to other Cameraman...I would ask to volunteer as a PA to go out on shoots with various crew members, so they get to know you, see your a good worker, then hire you !!!!

Karel, what effect or what do you mean by polarizing lighting ??? there are polarizing filters, which take out the glare/reflections and deepen blue in the sky, but what are you trying to do with the lighting ??? thanks, Paul

Cristian, starting out lighting is never easy, easy for the master DP's, it's not always easy....I graduated from film school in Montana, have been a DP fulltime now for video production companies for 5 yrs. I never went to Hollywood or NY (competition too fierce), plus had no desire to live in either place. In learning light, as I still am, I began by watching movies, studying them, pausing on great lighting sets on rooms and actors, just watching and observing. Another great way, is to read about lighting, color temperature to how film/video react to light, which will teach you how to expose correctly when shooting. Visit www.theasc.com, their book store, you can find a bunch of good sources on how to light. Another great way, if you live in LA or another big city, get in touch with DP's/Gaffer's in your area and ask to meet them or even volunteer as an assistant on shoots, see how they light. I didn't have the opportunity (comign from a small town), so I just had to watch movies, read books, then joined the Air Force. I got to meet Emmy winner Ken Lamkin (ASC), he shot the " Frasier " sitcom, is retired now in San Antonio. He allowed me to come to set of a movie he was DP'ing/Directing, I got to see him work. Later, in film school, I got to meet oscar-winning DP Dean Semler (ACS/ASC) who photographed " Dances with Wolves ". I study his lighting, plus got to watch him and his DP work and see how they lit each scenes. Learn about color temperature to working with gels, diffusion and notice how light hits objects and people....take tones of photos/videos, make mistakes and learn from them. Also, learn about the lighting instruments, what they light/how they light a room, from Arri/Lowell to Kino-Flo to Mole Richardson and Chimera... here's a youtube link on Dean Semler's photograph at a school in Australia;

it's ulimately up to you, but in looking at lights, try to get some lights that can be used in several different situation....soft boxes I love for great soft key lighting, but they have no barns doors built in to shape the light or cut the light, unless you buy some flags or black wrap.....Red Heads I've worked with and they are good, since you can diffuse the lights with regular diffusion or maybe wax-paper, plus you can use three lights for three point lighting and control the lights with barndoors...ebay is always a interesting way to buy, but I'd go thru a dealer to get a warrantee on them.....but ebay is cheaper, you might get cheap lighting (???)...it's also been said too it's not the type of equipment you have, it's how creatively you use them....

Using a China Lantern (small one, if possible) gelled with CTO and flagged off, would be a great way to enhance hte lighting of the lantern, just out of camera view. Another way is to use a small LED lite panel (also gelled) on a dimmer to simulate the light, at a higher wattage. You also can use small 150 watt fresnel lite (Arri to even Lowell) for the same purpose. I would experiment, see what the best effect would be, since these are all hypothetical until you actually use them, but these are great starting points....Dean Semler (oscar winning DP) said when lighting..." if it feel looks right and feel right your eye, you've generally got it "....tweak when needed

Scott there are no shots of Kevin on his sod hut reading his journal, except one shot with a butte in the background....that was ALL real locations, nothing was shot in studio or used in front of a green screen....one shot of a buffalo trail was used in matte work, but that was the only one.....

yeah, I noticed that in various scenarios, the ASA will change....I wanted to meter some lighting, but didn't know the ASA, was wondering if there was a standard for the EX 3 & EX 1 ?? I set my meter at 320, but know it'll change for higher shutter and ND filters.....

hello, I would say learn as much about lighting as you can, read books on lighting, then go shoot stills or video, that way you understand how lighting works in both film and digital video....I think, from what I remembered about the British system, DoP's there are more about Lighting then camera....they are mostly referred too as " Lighting Cameramen "....they spend most of their time lighting the set, while the operator works with the Director of shots/composition/blocking, etc....I would study the backgrounds of the great British DP's; Roger, Deakins, Geoffrey Unsworth to Phil Meheux to David Tattersall..... I'm a DP/Cinematographer mainly working in video production, but worked my way up thru VHS to Mini-DV, BetaSP, DVCAM to P2 and currently SxS cards, from TV stations to video production companies....I have never been in a union, but most here in America who are in Hollywood or any major city are unions....in unions you work from the ground up, getting your 30 days in to qualify I think, where-as independents just work freelance or fulltime for a company.....if you have any opp's to intern with a DP, DO IT !!!....London Film School or any talent agency can direct you to any DP who can be kind enough to meet with you....

I was watching the special edition DVD for " Dances with Wolves ", the portion about Dean Semler's oscar winning Cinemtography. They interviewed Production Designer Jeffrey Beecroft who quoted a great line; (About Dean's lighting)..." you can have great sets, but if you don't have great light, you can't see 'em..."....I love this quote, since you also need great actors, great direction and a great story to light too !!!!

A good mature/talented DP can make " hamburgers into filet mignon " if given substandard equipment....if you have VHS camera and home-made lighting, you can still shoot a great movie, esp with a good cast and story....plus ALOT of time and patience

as far as British Cinematographers, I greatly admire Geoffrey Unsworth, his images of 2001 to Superman con't to inspire me every time I watch.....Roger Deakins for his magnificent work on Shawshank to even Thunderheart were terrific.....

Anyone know the default/standard ASA/ISO rating for the EX 3 & EX 1 ?? I'm guess it's 320 ????

I am NOT touching the bulbs with my hands, I know better than that.....the other crew might be, but am keeping a careful watch out.... How about turning the bulb off/on to check power then modeling, just wondering if that is good or not, since I did it with Arri.....

hello fella DP's/Videographers: I'm currently working as staff DP/Cinematographer for a video production company. I am using Lowell light kits right now (having used mainly Arri kits)....I was wondering if anyone knows the " shelf life " (Bulb life) of these kits...I've had numerous bulbs burst one me on the last few weeks, the filament breaks too quicky, just wondering what type of affordable kit, even LED lights to use as our workhorse ????

Ken, very good job on your reel....what is your background, how many yrs being a DP ??? what type of camera/format/lighting used ??? here's my reel, although it's going to be changed http://www.productionhub.com/video/view.aspx?item=8710

Christian, first impressions; 1) if the story is about love, warm up the video more with either warm filters or warm cards....this gives the viewer a sense of visual warmth, hence the emotion...focal length should be more close-ups shots, depicting a feeling of closeness, which would convey the love feeling...smooth/fluid shots...Use tripod MORE, esp during the warm/love portion... 2) handheld during the fight sequence is good, the visuals suggest frantic/crazy moment, which co-incides with the emotions, try for a more contrast image, hard blacks/whites to convey the visual emotion....

Dennis, always use a tripod, always....only use handheld when it's appropriate