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Chris Raleigh

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    Director
  1. About 15-20 minutes indie short film. Great script, good location indoors and a nice budget (along with studio access to any equipment we need). Will go to festivals and online distribution. Will be shot on 5D and 7D. Want to keep this short to discuss with prospective DPs. Simply email me at handoverfistfilm @ gmail.com We require a reel and resume. Need professionals. Paid job. All talent is lined up, along with producer and director and a gaffer. Weekend shoots in May. I will respond with rates to ALL emails. Rates depend on experience and resume. It is a 4 day shoot (split up during weekends in May) Place in subject "Manhattan DP job" and I will know who you are =) I appreciate it!
  2. Bit of a forum newb. Please delete this post. Refer to other post "NEED Camera Operator NYC"
  3. Director and writer and producer of a short film I am shooting in Manhattan. Details will be posted to those who message me. Pay is negotiable. I firmly believe any interested operators/DPs who see where the budget is going to and the highly visual nature of this short will become very excited by this. We have a DP currently who is lighting the scene but the operator will work quite intimately with the DP and myself as the visual nature of the piece is intrinsic to the story and to the vision I want to unfold. Lots of opportunity here. We are shooting on MULTIPLE Canon 5Ds, but the real challenge will be in any dolley/steadicam/crane shots involved in a very large loft with some very colorful lighting palettes. Dates are early December and/or possibily early January. We are aiming for festivals and Internet distribution. This is not a student project. I do insist on an experienced operator and I will negotiate any and all conflicts of interest in regards to pay or dates if we think you are the guy to work with us. Please contact me at handoverfistfilm@gmail.com only as the 5 limit message inbox here is quite disruptive ;)
  4. Director and writer and producer of a short film I am shooting in Manhattan. Details will be posted to those who message me. Pay is negotiable. I firmly believe any interested operators/DPs who see where the budget is going to and the highly visual nature of this short will become very excited by this. We have a DP currently who is lighting the scene but the operator will work quite intimately with the DP and myself as the visual nature of the piece is intrinsic to the story and to the vision I want to unfold. Lots of opportunity here. If you
  5. We are shooting a short film for festivals here in Manhattan. It involves some known working actors, great locations (a few offices locked and a gorgeous loft) and an expandable budget As of now, we are planning to use both an EX1 with a Letus35 Extreme and the Canon 5DMKII (possibly multiple 5Ds on set). We have some connections for a RED ONE but it seems this is unnecessary for time and look ( we are focusing on story and the digital look for this ). The RED option is subject to change however and we are willing to discuss options with any DOP who is interested in the project and wants to discuss different options that are feasible within the style and skillset of said DP. To further this, we are willing to shoot in any format as now (even film if the DOP owns a camera) but digital seems to be the way we are going. The budget is between 5-12k (subject to change as interest grows). Shooting dates are also up in the air. Some casting is still being done but locations are LOCKED and all crew is available. DOP would be able to help us judge better available dates for shoots. It sounds like this is all in the air but we are in the middle of pre-production and can catch anyone up who is available, interested in a serious modern and relevant short, and has the artistic prowess to adapt and push the limits of digital cinematography. Candidates must have knowledge of film history and styles, have used relevant gear and/or own relevant gear and possess a reel of their work. Payment is negotiable but will be low. The payment will really be in the festivals we go to, film transfers, and working with professional actors on nice locations. Also the chance to work on something that is original, artistic and exciting. The script is 20 pages as of now ( a 15 page version exists for smaller festivals ) but the script may grow to become 30 pages. We are even considering options of shooting 30 minutes as a lead-in for a feature or other new digital distribution methods. Once you see the script we are working with, you will see the possibility to grow or minimize the piece accordingly. This makes shoot dates rather easy going and sporadic as not all the scenes need to take place back to back or on constant locations. I think I've said enough for now. Professional and SERIOUS candidates ONLY!!!! Post contact information and/or PM me and I will send you my e-mail. Would rather not paste it only to be spammed by passer-bys or the non-serious types :)
  6. Hey all, Not sure if this is available elsewhere - found nothing in search. Do we need to get E&O insurance (or just waivers) from location owners to shoot and take the film to festivals/distribution? Example: we are shooting in a loft in Manhattan. It is a co-op ownership (meaning one family and another family OWN the actual loft). Can I get a waiver from just the owner whose loft we are shooting in? The other co-op half is in another loft completely, and not connected aside from a hallway. To elaborate further on this example, if the loft was NOT owned and was a rental, do we need an E&O insurance waiver from the actual building owner? Does this hold true for a lobby or hallways? Of course, all of this assumes any legal issues that would crop up, should someone want to sue a distributed material for showcasing their property (albeit this would be super duper rare in my situation). Does showcasing mean distributed material (through DVD for example) or does it refer to both DVD AND festival? Finally, do some festivals REQUIRE E&O waivers from any location showcased in the final cut? Would like to avoid any of the constraints of hunting down owners in most/all of these situations as we are going for some guerrilla style shooting in friend's and family's apartments. Thanks all! :lol:
  7. Thanks Hal Great and succinct response. Very informative! Will the 28 CFLs and filters pose problems with the 40 watt chandielers above us? I know this requires some testing of course on our part, but in general should it blend nicely with the proper filter and CFL used? Also, is 28watt CFL (with an equivalent 150watt output WOW) as high as we can go safely? That sounds like MORE than enough light but its always good to know if we needed an extra boost. Furthermore, would you recommend going this route over photofloods? Let me know if you wouldn't mind me sending you some small stills to check out at your discression Appreciate the help. I will pass this along to the DP asap
  8. Couldn't figure out how to edit so I will just say that I am referring to the practical lighting on set as source lights. Also, as anyone can tell, I am not a DP by trade so my knowledge may sound a bit laymen :(
  9. Hey guys. New to the board here. Long time watcher, first time participant :P I have a question regarding bulbs and source lights. I am working in a large, large Manhattan loft which involves some chandeliers (which are very weak, probably small 40 watters - gives us barely any fill), and a few large standing floor lamps (my main concern here), which are outputting 100 watts each. The loft is long, and huge, with high ceilings (probably going to china ball up there eventually) and a warm overall look to it. This is due to the fact that the 100 watt lamps are currently being used by 60 watters. 60 watts is not bad - We did some initial tests using only one Arri 300 diffused and it came out fairly decent - but still muddy and dark, little contrast. We used an EX1 with a Letus Extreme(can't remember the settings or the lens we used but it wasn't particularly fast as I recall) so the light loss was not favorable (we may use a RED later but this test setup gave us a good lower end idea) My specific questions are [these are highly subjective of course due to lack of specific details but...]: Am I going to notice a great increase from 60 to 100 watt? Obviously I will get more light, but is it a fairly negligible increase due to the loft being as long as it is. As I understand it the lumens output will be greater than having a 60+40 in general. Do 100 watt bulbs come in different lumens themselves allowing me to purchase a 100watt at higher lumen? Secondly, what about CFLs? If I understand correctly, a 26watt CFL = 100watt but with even more lumens. If this is true, should I just get the CFL anyway (if the look is ok)? Furthermore if we do go CFL, can I get an even HIGHER wattage CFL in these lamps since the heat is FAR less than regular bulbs? How high can I THEORETICALLY go from a 100watt lamp with a higher CFL equivalent? Am I approaching this the wrong way? Finally, has anyone here worked with or knowledgeable in CFLs as source lights? Do they flicker at certain shutter speeds? Do they present major issues with colors? I know they now come in warms and cools, but what does this mean for me. Is a warm CFL drastically different when shot or is it an aesthetic look I can decide? Thank you anyone and everyone ;) PS - If anyone would like to get some stills of the test shoot (I would greatly appreciate anyone serious who would like to see them) PM me and let me know. I don't want to put up photos of a preproduction location without the proper legalities out of the way :blink: Thanks again! Chris
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