Kevin Pham

Justin, 

Looks great to me! If I saw it in motion and in context I'm sure it wouldn't interrupt my suspension of disbelief. 

I think if the intention was to make it look more like sunset, before I would soften the key, I'd try lowering the source in height and then introducing more blue/indigo into the fill.

Hi Chadwick!

I don't know where to service one in the U.S., but could you advise me on how to check my Leicina Special's torque?

I have yet to shoot a roll in mine but I want to see how much I can inspect before shooting a test roll. If you have any advice for checking it for common issues, I'd be very grateful if you shared. Thanks!

Hello, do any of you have any good experiences with good CRI Daylight LED Bulbs? I've been looking at the Kino CFLs but I am wondering if there are any strong LED bulbs that will do the job just as nice.

Thanks

I too would like to know the answer to this situation. Please let me know your solution, Mr. Kirkpatrick!

Hi! Does anybody have any links to any tests on commonly found hardware store fluorescent bulbs? I'm trying to look for one that gives a teal/cyan look - commonly found in Rodrigo Prieto or Emmanuel Lubezki's works. I did read a post where he was using Cool Whites but I am curious to see how others stack against it. Also, different brands most likely look very different from each other, so just curious if anybody had already tested them out thoroughly.

Hello Faye! I live in Hollywood and would love to be your cinematographer!

Here is a recent music video that I served as DP on:

The artist is signed to Warner Bros. Europe, and we shot it on RED EPIC at 5k.

I also have 3D Red Epic experience and know those little DSLRs like the back of my hand.

Here is my website that features my photography and screenshots of projects that I shot that are currently in post-production.

http://phamcinematography.tumblr.com

Whereas you'd like to shoot here in LA, I'd love to shoot in NZ! Perhaps we could share a fine cultural exchange!

Hi,

 

I'm based in auckland NZ and i'm looking for a great DP for a music video i want to shoot in LA in the first week of october. It a basic shoot me, the DP , the singer and the talent.

 

I've hit up some agencies already but looking for more options. Can anyone suggest a good place to look or if you are a DP reading, please contact me with a showreel link directly, faye@mofresh.co.nz

 

Cheers

 

Faye

I wonder why they put in a sensor with a 1.18 aspect ratio. Would they eventually include a mode to shoot 2.36 with 2x anamorphic lenses?

 

Also the footage doesn't look particularly sharp on Vimeo. This may be the compression, but it would be nice to see some full screengrabs of the RAW files.

The active sensor aspect ratio is 1.77

 

I apologise for the grade. I'm literally in the middle of a shoot right now, and I only had a few hours in the middle of the night to do something with this footage, using an application I'd never used before. Believe me though, there's a lot of range in the images. Someone who knows what they are doing will be able to make this camera sing.

 

I intend no offense, if there was any taken! Thanks for the reply John!

Hmm,

the price point is the best part about this camera. Though, I wonder about it's native ISO. The grades done for the "Beach Dusk" video shot on it weren't particularly impressive. The night exterior shot also appears very noisy and looks pretty ungraded with it's dull colors and seemingly logarithmic-look.

I have a concern with the sensor size. At 15.6 mm x 8.8 mm, it's close to the size of Super 16mm (12.52 by 7.41 mm), just a little bit bigger. This means that the 35mm lenses you put on it approximately double in focal length, right?

This would be a great camera used for video applications like sports, weddings, events, corporate, etc - but even so, I think even in those situations I wouldn't really need to shoot RAW or would probably like the option of 60p, which the BlackMagic doesn't offer, even at compressed 1080p. But, it's on the right track with RAW and if I were ever to seek the aesthetic of 16mm I think this is a sound choice.

I'd probably rent though, and refrain from buying.

Could anybody at NAB ask about it's native ISO?

I'm not sure it would since it protrudes out into the mount quite a bit, it might break the mirror.

 

The Pentax m42 mount lenses are really great for that camera. The best shots I ever got with a K3 were using a Pentax Super Takumar 50mm.

If you use M42 Macro Extension tubes, I wonder if you could be able to use the Meteop on a M42 body/Camera with M42 adapter. Any thoughts?

Hi Dudes,

 

at the moment I get in touch with a Krasnogorsk 3 camera with M42 lens-mount. Can I mount normal M42 photo-optics (old German Democratic Rebublic stuff) on it and cause this some vignettes (don't really know if that is the right english term) than?

Regards Alex

Conversely, can you mount the Meteop 17-69 f1.9 to a Pentax camera for still shooting?

Thanks!

Disclaimer: You might want to fact check me as I have only used LEDs once on set and am not a professional, but a student like you.

I used two of these on a shoot: http://www.led-z.com/brute16.htm

LEDs tend to be a lot lighter and a lot smaller than an HMI if you're trying to light 5500K. They also consume a lot less electricity, meaning you can plug a bunch of them in.

A characteristic that I find tough to work with is that they have multiple point sources (a shadow for every source). Sometimes, LEDs with built in dimmers change color temperature when dimmed as well.

However, many brands are researching and developing better LED lights.

I had the pleasure of playing with Mole Richardson's new LED and Arri's new LED in the same day! I like Arri's a lot better because you can customize the white balance from 2000-6000! They both have built in dimmers, and both emulate a single point source so that there is only one shadow.

I too believe that LEDs are the lights of the future, as they are new and keep getting better.

February 14 falls on a Sunday this year. When is the event exactly? Is David Mullen's update of Feb. 20, 2010 the same event first mentioned?

Please and thanks for clearing the confusion.

I'll be shooting an interview with an African American female on an HVX200. I will be wiring two lavaliers, one to the interviewer and one to the interviewee. I don't have the luxury of a B camera to pick up inserts while A cam is mounted on sticks for security and consistency. I'd like to move the camera around but I'm afraid I might do so while important dialogue is being spoken. How can I get a variety of interesting shots while still securing everything necessary?

I apologize for the vague question, but any help would be very much appreciated. Things to keep in mind would also be very helpful.

Thank you

Kevin Pham

Practice a lot. Your studies in photography will hopefully prove to become very handy by having trained your eye to set up shots and acquainted you with the impact of difference in perceptions. Practice, constantly questioning your methods.

Try to find gigs on craigslist and build your reel and use the reel to get you more jobs.

Get all of the experience you can there in France. Personally, I'd love to find others interested in the French New Wave and work with them.

Adrian's advice reflects how I feel. I'm a cinematography major at CSUN and I must say I feel my attendance at school is greatest rewarded by the contacts you make, free rentals/insurance and the experience of working with film stock.

The internet, textbooks, a library and willpower are all you need to gain theoretical knowledge, and the money you could be spending on tuition at those EXPENSIVE schools you've mentioned could be rather well spent on excellent equipment, film stock, and processing, like Adrian said. A lot of film classes deal with criticism and artistic theories. If you're new to working with film, I recommend taking up photography as a hobby and getting yourself a nice film SLR with complete creative control over the functions. Learn to work with a light meter and learn about loading film correctly, etc.

I do wish you luck on whichever path you take.

Jean-Luc Godard & Raoul Coutard

Leone & Delli Colli (Agree with you, A. Whitehouse)

The project was a senior project at my school and we had two REDs. I was 1st AC on B camera. "A" camera had it all, FF + whip, viewfinder for operator and LCD for 1st AC, matte box , 2 grips for shoulder mount...

B camera was absolutely barebones. The only things leftover from A camera we could put on there besides the lens was a LCD screen and battery pack. You could imagine my dismay when I discovered this.

We matched exposures with A camera, so we were constantly at: 50mm f4, 85mm f4, 35mm f2. I was pulling focus to find the actors marks and the "B" camera operator got all butt hurt and told me to "eyeball" the focus, keeping my eye on the LCD to rack focus.

The camera operator could not see because we had to share the LCD screen and I had to get in front of it to make sure we were in focus long before the slate, when actors were doing rehearsals.

I had to rack focus from the slate back to the actors too, so how could I not look at the lens barrel?

That was difficult, but I did as well as conditions permitted me to. The camera operator added a lot of unnecessary stress. I'm glad I took the job though, it's from the harshest conditions that you learn.

You're going to have a rough day tomorrow, my friend. You won't be able to zone focus that. It's the same depth of field as 35mm so you have to actively follow with the focus, even on most wide shots. Ask for lots of marks and rehearsals and just try to relax and I think you'll do OK.

Thank you, Mr. Keth. Your tips and reading around on this forum helped prepare me for the shoot. There was no follow focus, but I did well. The only problem I had was working with such an anal retentive camera operator telling me to "just eyeball it" when I was checking the marks on the lens barrel and relentlessly complaining that he could not see when I was pulling focus before rolling.

Cheers

I've never officially 1st ACed before. I've measured focus with 16mm using measuring tape and I know how to zone focus. But unfortunately, my first opportunity with the position of 1st AC is on a RED shoot.

So please give me the fruits of your long accumulated wisdom. It would help dearly!

Thank you.