Jose Figueroa Baez

Well the HavoK project is shot on HDV 720p24 on a JVC GY-200HD. As far as the 16mm project from school, it was shot on 7218 and we did light for it. Most of it was shot on a soundstage. As far as the colors, well that was mostly post production coloring. We played with the exposure but the DP on the project didn't want to stretch the colors too much. As the gaffer I helped him design the lighting scheme but it was his call as the DP of course. Being a school project, we all get our own edit so, this is my edit of the movie with my color correction. I experimented with desaturating the image a bit and then making certain colors in certain regions come up, depending on the room the action was happening in. I used the same technique in HavoK, but much more polished. I also did play with the colors on set so, some of the coloration you see on the trailer comes straight from the camera with little alteration in post. Thank you for the comments.

Here is the link to the new trailer for this project I'm working on. I'm the DP on it and I also edited the piece. Feedback is greatly appreciated. Enjoy. http://vimeo.com/7350820

I am DP on a small feature shooting on HDV. I have a fairly good light kit composed of work lights out of the hardware store and a small studio kit. I do a lot of my cutting of the light with black wrap in the absence of barn doors and I do have professional gels and other things to control and color my light. I have been having trouble getting nice, contrasty pictures on set, especially on daylight shots. I have a lot of things at the same exposure with no areas of light and dark or the dark areas don't look dark enough. We do have some great shots but the general look of the film is not as contrasty as I would like it to be. I know there are things I can do in post to boost this but, I like getting as much on set and on the camera as possible without counting on Post to get me out of the hole. There is nothing I can do for what's already in the can, but I would like to see what techniques from more experienced DP's (this is my first feature) I can use so I can get better at my craft. Thank you for your comments. Here is a link to the trailer so you can know a little more about the project and see where I'm coming from: http://vimeo.com/6304680

Sorry, the link has changed, here is the new one. http://www.youtube.com/watch?v=4r93tMH4eHQ

I've been DP on this feature for the last few months and would like some feedback on the images. I also edited the trailer so, if there is any comments on that, it would also be appreciated. Here is the link: http://www.youtube.com/watch?v=-hJ5YtYhGuM Thank you for your support.

I know exactly how you feel. I am currently working as DP on a feature in FL which I got by chance through a friend, but before that, I had over 150 resumes out to everything from local tv stations to big budget feature films, with no results. The field is full of people like us trying to wedge ourselves into the industry, which makes it harder for everybody. Just be the one that never gives up and stays with it. The moment you stop looking is the moment you are never gonna get it.

I always have a watch on set but I always take it off when loading or unloading, to me is common sense; especially if you are in a loading tent where it can get tangled coming in or out and tear the fabric. Its an unnecessary risk to have it on while dealing with the film. About the mags, I know for a fact that the Arri mags for the LT and ST actually have to be carried on their side, what you have to pay attention to is which side is up. You just gotta make sure you don't flip it in transit or you'll get coning. As a rule, we just keep it the way we took it out of the tent, lid facing up. We had an AC that didn't do it and we would have the film scratching against the lid generating a really bad noise.

I'm shooting a feature in FL on HDV, 720p 24. How does this format fend on a 35mm print? We would like to get one if possible, I an arrange to send some sample material for a test if it is possible. Send me an email: jjfb985@gmail.com, I'd like to disscuss it and possibly get some prices.

See if you can get the color cards for warming and cooling your image. Those can help you get a better control of how your image will come in that light by white balancing with those instead of a plain old white board. You can also try and fiddle with the colors in post keeping your mid tones at a more normal level and letting your highs go to the orange tones. That should give you an interesting image.

Aside from the information, there is also the color of the tape. The colors vary from here and there but I believe the general concept goes like this: Red - Tungsten above ASA250 Yelow - Tungsten under ASA250 Blue - Daylight This combined with the info gives the lab everything they need...and yes, it covers our ass when the blame game comes when there is a mistake.

Well thanks a lot for the feedback. I will get to it right away. If you are interested in the documentary you may check it out at http://www.vimeo.com/3393868.

I'm a big fan of the lower ASA/ISO, so I was very glad to see this new stock. I wanted to get some feedback on what has been the response of DP's out there when using the film. How does it compare to its Vision 2 counterpart? Any comments are welcome.

Here is a link to my new website with some of my work. www.jfbdomain.com drop by, hope you enjoy.

I own a Canon 580EX II, which is pretty powerful. Do you think I could use that??? I'm gonna test it first since you suggested it. Thank you for the ideas and the help.

I am DP on a small indie feature. The script calls for lightning in a scene. Some of it is simply in the background but then there is a scene where the lightning becomes the only source creating a sillohuette, and setting up a reveal about a character. I only have some studio lights, some work lights and posibly a set of 4x4 Kinos and some Devas. Is there a cheap way to create a lightning effect without an HMI and the specialized equipment that create the effect??? Any help would be greatly apreciated.

I am DP on a small indie feature and I'll be working with a JVC GY-200 HD. I have never worked with this camera before although I have worked with other JVC and non JVC cameras. I know some tricks on other cameras to get better picture quality and better DOF but I wanted to know if anybody that has worked with this camera before has any tips to work the camera in order to get a better picture. Any help would be apreciated.

Ok, so what would you consider then a proper resume...I am a graduate with a bachellor in film and I have over 20 different gigs in experience, mostly PA, grip and camera dept. I am willing to accept that there are people with a better resume than mine but, with over 90 resumes sent I've merely had 2 call backs. What do you say to us that have the passion and the training yet still find it hard to get work in order to get that experience that will get us the next gig.

I found through a friend this really good app for the iPhone called Photocalc that serves a DOF calcualtor, among other things. It is completely adjustable and has almost every format, if not all of the formats, used on sitll and motion picture photography. I was wondering if anybody out there is using this on set. We have been using it for months now and it works amazingly.

I am in a similar position. I must about 50 to 60 resumes for PA and other entry level positions on sets for different things going from films to tv pilots and others. Things I guess are just slow, I've yet to recieve a single call, even to say no. Just hang in there and keep going at it. I hear from friends in the area that it is hard to get on set, even as a free PA so, if you can afford it, do a couple of free PA gigs in the mean time, maybe you'll find that one connection that will get you the good gigs afterwards.

I might be a little out of place here but, most of us trying to get our careers going are having a lot fo trouble finding work. I have sent out ovr 50 resumes over the course of the last few weeks, ranging from rental houses to film/pilot sets to post production work and I have yet to recieve a single call. Granted that I could have the worst resume/cover letter/demo reel combo out there, but I can sincerely say that we are hurting here at the bottom. It is a hard industry to break into but add to that the current situation and it only gets closer to impossible.

Ever since Collateral and that excuse for a movie called Miami Vice, I've stopped looking forward to Mann's movies, since they're not even film now. I understand it is a choice he and his DP make, but it has trully brought down the quality of his work. I saw the trailer for Public Enemies yesterday and thought the movie looks enticing, and of course the talent on it is amazing. But it was so heartwrenching to see high action scenes with digital motion blur and those awful nighttime shots with very poor lighting and grain deforming most of the frame. I truly was hopeful about see this movie until I saw the trailer, lets just see what happens when it opens.

I think thats is a great suggestion. Place your camera as far back as you can from your subject and zoom in. This will give you great DOP on that size chip. In terms of the lighting, I think you are on to something with the overhead fluorescents. If you can pull off the DOP without the M2 and gain those 2 stops, I think you'll have more light to manage and will give you more freedom. Make sure you measure the outside and light accordingly inside in order to get those outside lights you mentioned. Good luck man.

I have been very interested in this new system by Sony since they showed it off at last years NAB show. I have been looking online for a 35mm adaptor specificaly designed for this camera since it has the interchangeable lens capability but have been unsuccesful. I have heard of using Letus or Red Rock using the lens that the camera comes with but I feel there should be a better way, like the EOS adaptor available for Canon's XL series that does not use the lens. Anyone know of such a device?

Alex Proyas and Dariusz Wolski worked twice to great results. Wolski also worked on the 3 Pirate movies with Verbinski and he is now working with Tim Burton on Alice in Wonderland after doing Sweent Todd. Another great team is Tom Tykwer and and Frank Griebe who have worked in several films together too.

I actually thought the film was shot on HDV witht he canon xah1's you can see spotted through the film, I had to go find out on IMDb-Pro that it was shot on an F900. The thing is, I think that was the point, to be intrusive, to put you in the moment, I thought it was daring. Although if you notice, most of the close ups were shot from affar zooming in. This of course gives you better DOP but, its not like the camera was right in the actor's faces, even though the shots were.