Brandon Whiteside

You're ignorant and arrogant. Don't make films

Can anybody elaborate on what feelings shooting warm (more orangy) and cool (blueish) unknowingly establish in a viewer's mind? What other ways can feelings be established into a person's mind without them knowing?

I have upped it to a Junior stand. Can anyone explain a menace arm, and a combo stand?

Yeah, I plan on leaving a few inches on each riser. The part i was worried about is the part where the 40" gobo arm is extended maybe 30 inches at a 45 degree angle. That will be okay?

How far will 2 4x4 Kinos throw? Lets say I am 10 feet in the air horizontal at a 45, barndoors wide open? Will that sufficiently key light me to 2.8 on video, say 15 feet away?

How far will 2 4x4 Kinos throw? Lets say I am 10 feet in the air horizontal at a 45, barndoors wide open? Will that sufficiently key light me to 2.8 on video, say 15 feet away?

Would it be safe to mount a 4x4 Kino Flo on a 3-rise baby with all risers near full height with a 40" offset arm at a 45 degree angle and say, maybe 3 25 pound bags on each stand?

Hey everyone, I am DP on a web-series shooting this weekend. It is comedic, and I wanted some tips on lighting. I know that comedy is not really famous for the use of dramatic lighting, but I want to get a little bit creative with it. I have good knowledge of equipment and such, but I need to get a little more creative with the lighting. It's mostly two guys in a house during the day. We have two tweenies and a 2x2bank Kino. Everything will be daylight balanced. Can you just throw some creative ideas at me? What would you do if you were in my situation with the information that I have provided? Thanks!

This was a project produced by myself and a friend, and would like to get an idea of what some pros and amateurs think. I did all of the cinematography. The trailer can be found at http://C-41productions.com . The film will be out in a couple of weeks. I did not edit, but any critiques are good ones, and i will forward them on the appropriate people.

I am in the same situation as you (sorta). I am currently a student and have been in your position, say about 5 or 6 years ago. I must say that I have come a long way since then. I have learned SO MUCH by being on television sets as well as working on my own projects. I can tell you right now with 100% confidence that you do not need a single light or piece of grip equipment. I made probably 20 good and bad short films since my first project. I never used a single light or piece of grip gear for those films. Granted, they may not have looked great, but I gained all of the production knowledge I have now. My latest film used a small light and grip kit (1Ks and 650s). I was only able to properly use that because of my previous knowledge of how to do everything else right. As for you, I think that you should take your XH or your flip video or whatever you have and shoot a film this weekend. You don't need boom mics, paper work, lights, flags or any of that junk. Mount the mic on the camera, throw it on a tripod and go. You need to just know what its like to be behind the camera, direct actors, set up shots, and more importantly, develop a good story. I think that your first film should focus only on story, as well as portraying that story via the camera. Even if the lighting is terrible, shoot it, look at it in post and find out what you can do next time to achieve the lighting you need. Remember, if you don't have a story, you don't have a film. I only say all of this because your experience seems limited (I noted that you did not know what 24p was). WHEN it comes time for lighting and grip, you should just rent it all. A Matthews C-Stand (If you don't know what a C-Stand is, then you are definitely not ready for them) costs about $175. If you need 10 of them, thats $1750, one third of your "Budget." They rent for $3/day/weekend at most rental houses. If you have a 3 day weekend shoot with 10 stands, thats $30, plus you don't have to store them when they aren't in use. Rent rent rent. Last thing. Use your friend's Final cut xpress. its almost the same thing as FCP without multicam and crap you don't need yet anyways.

They are different for a reason...

And, the two medium shots of the drivers side with the steering wheel in the shot. You did not flag off the glare that is on the Ford logo, which means the light blew out possibly the most important thing in this commercial (Aside from the full shots of the car).

Yay!

I will be shooting 24p at 1/48th. What about that?

I started by doing a search on the topic "Flourescent flicker" and came across nothing useful. This weekend i am shooting 24p with an xl2 in a classroom, using the built in flourescents. What are the chances we experience problems? Thanks so much!

Hey everyone, I'm new to the forums! Just a little background information: I am currently a student at CSUN (Cal State Northridge). I have a lot more experience than most film students--I've had an active production company for about 5 years, with each and every production getting better and better running smoother and smoother. I am actively pursuing being a camera operator and a really great cinematographer. Just wanted to throw that out there!