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Peter Mosiman

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About Peter Mosiman

  • Birthday 05/16/1989

Profile Information

  • Occupation
    Cinematographer
  • Location
    Los Angeles
  • My Gear
    I do not own any cameras or lenses. I'd like to be able to freely choose the camera/glass that is right for the story, without the pressure of putting your own gear to work. I have shot on nearly all major motion picture cameras and practically every DSLR imaginable.
  • Specialties
    My specialty is in narrative work. To date I have shot three features and numerous other short films. I also really like shooting music videos as you get opportunities to explore and try new things much more often.

Contact Methods

  • Website URL
    http://petermosiman.com/
  1. Steel Blue is a fantastic alternative for a moonlight effect. It carries a little green within the blue which takes the edge off the blue IMO. But again, like everyone's said before, it all depends on what you're looking for. It's also extremely helpful to experiment and test with all kinds of kelvin temp's while your light source is up, so you can get a feel for what temperatures do what to the colors. It's fascinating really.
  2. I just recently used a whole bunch of the Mole's. I ran 19 babyLEDs off of 2 20a stingers. It was really great given the constraints of the location we were shooting in. I was using all daylight ones so I can't comment on the "white-ness" of their tungsten brothers, but the daylight color seem consistent and pretty nice looking. My only qualm with them is that they don't pack quite the punch/per fixture you would hope or think they would have. It's fairly close to their tungsten "equivalent", but not quite. As you can tell below, I was pretty stoked on how much power all that light pulled.
  3. Jack Cardiff too. The documentary on him (Cameraman, The Life of Jack Cardiff) blew my mind. He did things that were so incredibly simple and brilliant at the same time. It's almost that there isn't a day that goes by that I don't think about some of the things he did. Stupid smart.
  4. Deakins and David Boyd (who shot the first 2 seasons of Friday Night Lights which, IMO, has the most ballsy cinematography I've ever seen on TV).
  5. Ben, if you can't do artificial lighting, try and make sure that you can at least choose where they sit. Next to windows for the natural daylight is the best solution, but you can at least do your best to sit them in a place in the room where the subjects wont have raccoon eyes. cheers
  6. My favorite shots of yours were from 1:48 to 1:52... I was impressed with the stuff you've shot. It seems like you do a lot of steadycam work. Is this the case or do you do a lot of smoothcam in post?
  7. Just thought I'd update everyone by letting you all know that this film won multiple awards last night at DePaul University's (where I go to school) end of the year film festival. We won Best Cinematography and Best in Show (by popular vote of the audience). I am extremely pleased with these honors and plan on entering it into many more festivals with the rest of my fellow filmmakers.
  8. hahah lmao. :lol: I think I will take this into account next time I need a car mount.
  9. Hey everyone. I've been working on this project for my HD Cinematography class for the last 8 weeks or so...thought that I would show it off here as I am very proud of it. Plus I also know that this is a CINEMATOGRAPHY forum. :P Just wait until I get my Scarlet...this is just to demonstrate my potential! :D Let me know how you like it yo's! http://www.vimeo.com/4971318
  10. You are correct Ziryab. Just to back you up... http://www.imdb.com/title/tt0808151/technical
  11. you could also go the 5dmII route for the 35mm dof look.
  12. now they just need to create a solid pair of 3D glasses for real cheap. =]
  13. Not gonna lie. The last couple of films I have seen in the theaters have just be horribly taken care of and I was so distracted by all of the imperfections of the print that I could not get excited about the movies I went to see. Now I know thats not the films fault, but I have seen a couple of digital projections recently (Slumdog, Crank) and both looked perfect ( the whole movie and I loved it. I personally have only seen 2K digital projections and not 4K but I would love to see one soon. Anyone know if there are any in Chicago?
  14. get as big of bounce cards/film core as you can and bounce it from the street to the in shade part (in the pic, <--referring to the morning shoot), but I personally see nothing wrong with using that shade to your advantage. it would be a good way to show a subtle lapse of time. also, for your close up shots you can use some chinese lanterns to provide the fill/key you'd need. also, for when the sun shines directly on you...you can use nd's/grads to stop it down. what are you shooting with? whats the story, mood, etc....as that also makes a big difference.
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