Austin Michaels

Hello, Here is my second reel that I have done since I became a Director of Photography. http://vimeo.com/29084395 Cameras used - Red One MX, Arri SR3, 5D, 7D. I was the editor for this piece too so feedback on both ends would be helpful. Thanks

Hello, I have just finished my second reel since I have became a Director of Photography. Cameras used - Red One MX, Arri SR3, 7D, 5D http://vimeo.com/29084395 My website is austin-michaels.net will be up in 3 days.

Yeah i was thinking of turning the glass to hide the reflections a bit. But there will not be a white cyc background. It will have a warehouse look that falls into blackness. But the only thing to do is move the glass and the camera to the correct angle to hide reflections. Possible put a polarizer on? Thanks for the responses!

I am filming a scene inside of a warehouse where it will have basic lighting. There will be a huge 15x15ft glass, plexy glass or something for the 2 actors to write on with a silver pen. In the end it will have the whole 15x15ft glass filled with writing. My main question is how to not get reflection of the lights on the glass. Is there a type of glass that reduces reflection? Since the key light might be passing threw the glass. Is there a glass that is great to write on and erase? We are getting 2 pieces just in case something happens to the first. Also getting the cameras reflection, since alot of it is looking straight on. Is it just as simple as just blacking everything out behind the glass? I attached a reference pic that i got off the internet.

I still think having any kind of light starting with a 300w light and just keep doubling the diffusion till you get what you desire because that is easier to control. But i agree with right above the camera. I forgot to mention that.

Good luck aaron, Post the finished video here when it is done.

It is quite simple all you need is a nice piece of some diffusion of any kind. Use a 100-200w light and Keep it right next to the camera so it does not give off a shadow on the actors. You can double, triple and keep doubling the diffusion till you get the desire look you want for a contrast ratio. But that will give a nice little sparkle in their eye. I have used a micro Litepanels and just dim it down. Works great!

Want some feedback on the past 2 music videos I did. Not much experienced in the music video field. Both where low budget and I was the DP on both Missed some main shots because the wind took our set but still turned out good. http://vimeo.com/23490115

I loved the Wide shot of the city with the lens flare, That shot also shows the contrast that film gives that is amazing! Do not be afraid to give have a more drastic contrast ratio. I loved the shots that had contrast in it and wasnt flat. You had many things which had flat lighting, but it could have gone with the story. Pretty good and I always love watching 16mm films.

With being a loader you have to be VERY organized! Have to make sure everything is labeled correctly and up to date and put back into the can and label the can. When I am a loader/2nd AC or sometimes i was a 1st AC/Loader but we were shooting 16mm and I had All the cans pre labeled and all I had to do with the can when it was exposed was tape on the camera report.

Here was a test shoot I did with Red Primes on a Arriflex SR3 http://vimeo.com/18382377 password is DNA It was purely a rough cut i did and I finally found a editor to put a trailer together for it after 4 months. Also this is a HD transfer I spent a total of $1400 on everything, never produce and DP at the same time! The Jib shot was with a 16mm zoom but everything else was a prime. And a 25mm is a 50mm and a 50mm is a 100mm. And with the Red Primes the widest they have is a 18mm which gives you 26mm as your widest. It was a pain in the ass with the eye piece because the RED prime is a bit large for the camera.

I have yet to meet Roger Deakins, which would be amazing, but if the tools are available to help portray the story with the type of format to shoot with maybe the Alexa has the color grade and the right reason for what he was shooting. Roger loved the final outcome of the film and the alexa may stick with him or maybe it is a awesome new camera that is something different from shooting 35mm film.

Aaron, If you are shooting food on a grill bring a spray bottle full of lighter fluid. Gives you a nice fire effect. For food I would shoot on a 5.6 because you do not want a that shallow depth of field. With shooting everything look into maybe doing everything a 60fps as for commercials it looks more nature and attractive. Along with alot of dolly moves. Slider prefer for space reasons Here is a spot I was a camera operator on http://vimeo.com/17031757

Wissam, To be truly honest, Yes watch as many movies and commercials and try to recreate scenes, BUT to become good at lighting alone is to practice and experience on how light is used. Being able to be contain and manipulate light sources with material, height & angle, and reasoning behind why you are placing the light there makes you become an aspiring Cinematographer. For instance it took me forever to wrap my head around that the closer and bigger the source is to the subject the softer the light is. A SOURCE is for instance if you put a Silk in front of a light, The silk is now your source of light. Lighting you can not just read a book and know it, YOU have to know how to use your equipment no matter what kind it is. As far as camera angles, zooms, dollies, cranes, focus pulling are to help the story in a creative way. It can be just a slight move that is just what you need, my favorite is a slow dolly in on a emotional scene where the dolly will move maybe a foot in a minute. I had a reason for doing the dolly and it fit what the story wanted. Sorry if it is alittle out of place, Late night posting :)

It has been well over a year since I have been on this forum. Got really busy and picked my feet up. Feedback on my reel http://vimeo.com/23941164 I have 3 red productions in post that I am waiting footage from.