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Brandon Whiteside

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About Brandon Whiteside

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  1. It is hard to imagine this with the lack of detail provided, but I will give you my setup as if you were the client and you gave me that scenario. First thing I imagined was night time. A dark solid or lightly patterned background. This will be the easiest way to make the rain visible. Set the item on the table (how about a card table? Nice and equal) covered in duvie (to cut reflections). Since you are doing a dreary day, maybe a rough 2:1 ratio. Although dreary and dramatic I might keep it soft since it its a product shot. Throw up a couple of 4x4s with some grid at a 45 degree angle on either fron side of the product. Put the Key on the Left. Maybe a 1k? Throw a 350w or 650w on the fill, depending on the amount of drama that is required. Throw a hard 2k on a dimmer at the rear of the setup and flag it off from the product. That will highlight your rain against the dark background. Dim it down until your liking, if necessary. Toss another 1k facing the rear of your product. If you don't like the hard light, put some light grid or full grid on it. Shoot it with a lens ranging from an 85-135 (I love doing product stills with the Canon 135mm 2.0L). Shoot at a 2.8-4.0. But hey, one different thing could change it completely.
  2. Although I've never shot a reality show, they are one of the only things I watch when I'm at home (I try to see movies on the big screen). I'm talking more Discovery content rather than "The Bachelor." I feel quite confident that I could jump into a reality setting if necessary and be good at it--not because I am self-righteous, but because I have watched hundreds of hours of reality shows. Try watching more content if that is possible? On a more general note, I feel like camera operators on these types of shows have to have great chemistry and respect for each other. You both can't always be getting the 'A' camera angle. And you can't be insulted if the other guy has a "better angle." You say there are no retakes--If someone is reaming you for not getting enough close ups of four people with two cameras, I would argue that you might be two cameras short for this show. I could be totally wrong. Someone yell at me if I am.
  3. Remember that when you use Smokers, you want to add a lot to the room and let it naturally disperse (or help it a little with a flag). Once it disperses evenly it will no longer look like it is "flowing" and that is when you will get nice solid beams of light.
  4. Seems like you've got the idea. It's hard to judge exactly what you want. Do you want an enlarging shadow with a sharp turn at the end, or just some regular parallel traffic? Maybe we could get more insight.
  5. I am curious as to 1. If something like this exists, and 2. If any DPs would be interested in having a well-organized, ad free informational site available to the industry. The site would provide various tools such as books, phone apps, upcoming events, camera reviews, equipment reviews along with tips and tricks for use, and literally anything else that a DP could be interested in. What would your thoughts be?
  6. Hey everyone, please take a look at my reel if you get the chance and tell me what you think! It still has the head build on it...sorry about that. It will be removed once i finalize it.
  7. Hey everyone, I have been booked to shoot a music video this week that requires a few tilt shift shots with the 5D. Having never worked with them, I just wanted to see if you guys had any pointers for me.
  8. This thread is making my blood boil. I dont understand where this guy, Tom, has gotten his outrageously incorrect $1500 a day figure. And once it becomes settled later in the thread that Teamsters make $32.41 to 8, 1.5x @ over 10, and 2x over 12 he continues to use it and nobody calls him out! This becomes $608 for a 16 hour day, merely $3000 a week if they work every day. You can still argue "Oh but 26 hour days blah blah blah" but come on, that does not happen that often. And even if it does the 10 hour turnaround makes you lose half of a day later in the week anyways. I'm glad for the unions otherwise we would probably have this guy Tom driving us around for $300 a day driving like a jackass. I don't believe it is a highly specialized position, but every position on a set has a set of sort of "unsaid" rules (for lack of better word). They know how to present themselves to actors, they understand the tendencies of these types of people and can accomodate them quickly. They know where to park if we are shooting on New York Street at Warner Brothers, because frankly, I don't want a passenger van in my shot and I don't want to have to tell somebody to radio somebody to radio the college kid to come back from crafty and move the damn van. Sure, I could go drive the van, but I may not know the shortcuts around town, around traffic, etc. I may not know that you have to park at a meter for Location Sound because they don't have a parking lot (and only one loading zone spot). When you pay these people, you are paying for their experience and knowledge; for what? To save you time. SAVE TIME. TIME TIME TIME.
  9. We had zero issues with the camera. I felt that it was a wonderful piece of equipment. I loved working with it. (I was the operator)
  10. Haha, well if you want to get technical, we actually used a Chapman Super Pee Wee!
  11. Take a look at my latest short film, "Rocky Road" (8 min) shot with the Panavision Panaflex 16. It's the video that autoplays at http://www.youtube.com/user/C41Productions
  12. What kind of filtration would one use to achieve the look?
  13. I'm trying to find out which stock these two films were shot on. Is there a website listing all of the stocks used in films?
  14. I never thought of the 3M stuff! good idea. The bounce could work too.
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