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Cameron Schmucker

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  • Occupation
    Cinematographer
  1. Do I need worry about flicker at 60, 96, 120 fps with these lights? --
  2. Hey everyone, I recently completed a film shot mostly on the scarlet and the trailer is now out. https://vimeo.com/64847532 Thanks for watching! --
  3. I'm about to have a similar setup. Dialog in the driving car at night going through the desert. (No streetlight motivation) My question to you would be, what would you project? It should be a black hole past the window, but I agree it doesn't make it interesting. If we shoot at night and driving (hostess tray ect) I would attempt this setup - I saw in fargo was some headlight spill past the driver side and passenger side window illuminating some of the roads passing by. This would be for angles looking out those windows. If we shoot in a studio I would experiment with a hazer and a fan for those shots. A soft backlight on the moving haze might look more interesting. This is great lighting for frontal shots that I will reference.
  4. This book is one I wish I could assign to directors before I start a project with them. I learned from this book as a cinematographer, and it's a great read all around. I have always felt the moss taboo part of the filmmaking process is the relationship the director and the cinematographer have from preproduction until it's done and moved on. The working relationship is different with every production and from this book I've learned if nothing else, that there is no correct way to collaborate! Cinematography for Directors: A Guide for Creative Collaboration
  5. Hey all, I've seen this stuff so much now, I can't look at it fresh. Worried it might be moving too quick? What do you guys think about it? My linkhttp://vimeo.com/19769684 Thanks everyone!
  6. Thank you. The director finally got it on vimeo. Please support it there! //vimeo.com/19377062 Hard to beat good vision and direction. The director edited it and is editing the film. Talent truly does rise!
  7. Here's a trailer to a film I wrapped this summer in the US Virgin Islands. The budget was incredibly small and my main vendor was Home Depot. We shot over two months. We took our time/hurried up. You can even see in the trailer some of the shots that didn't hold up with the compression, but the 5D's sensitivity to light really brought this story to life and made the film possible, no joke. www.chance-themovie.com .
  8. Thanks for everything. I blame myself for the color grade. I wasn't present and learned I need to be no matter the 'simplicity.' I shot on RED with Cooke S4s. Here's a few of pictures from set. I wrapped two spacelights in a silk and still wasn't entirely satisfied with the subtle double shoe shadows on the wall. I also had two 9 lights off a 12x bounce for a frontal fill. I tried to keep the lighting as simple and out of the way as possible so I could allow the director to really work in the space with any shots or new angles that would spontaneously come up shooting day. For the overhead shots I kicked off the spacelights and repositioned my bounce more above camera.
  9. Here's a commercial that I recently shot: vimeo.com/17988315 Two hip hop dancers play a game in which the object is to "color" as many Nikes with their own personal style.
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