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Glynn Albert

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About Glynn Albert

  • Rank

  • Birthday 05/17/1970

Profile Information

  • Occupation
    Cinematographer
  • Location
    Los Angeles
  • Specialties
    Scuba, Hiking, Travel, Photography, Politics

Contact Methods

  • Website URL
    http://www.glynnalbert.com
  1. Looking for feedback ideas, I was thinking a 1k chimera , a 2k chimera nice and sidey with kinos out of harness on the ceiling for fill, some 150s for accent as permitted. See Video link Thanks!
  2. Can shoot Black and White in Camera, if not, is there a best profile for desaturation in post?
  3. Thanks. We got it, just needed to practice the shots a bit.
  4. What is the best way to do B&W in HD? I am sure that you are not referring to hitting the desaturate button in FCP. I have tried to do it in the EX camera but the results were not what I wanted to see.
  5. Right, I guess my feeling was that I did not want to intermingle shots that would clash in terms of style and mood. Thanks. I will have to put up some other projects in separate movies.
  6. Hi, Im Glynn please take a moment to critique my reel. Reel Feedback is always welcome.
  7. Hello everybody, I am looking to get some feedback on my DP work in this reel. Please be descriptive in you analysis. Thanks a bunch everybody !!! <a href="http://www.vimeo.com/6827720"> REEL</a> Glynn
  8. Im shooting the EX1 camera with the Letus, we have super speed primes on the mount. we are in small practical locations doing small 200's and 650's for control of bounce and spill, so our apature is usually at 1.3 at 0db, we have it on a 23" monitor and it looks ok with our gamma setting to gain up to from 3 to 9Db at times. This way we can get a 4/5.6 split for the AC. Will the image further degrade in post, in grading? Am I safe if it looks cool on the monitor?
  9. That question worked. It raised some eyebrows but it worked. So basically my AC needs to know his space and how it's changing. We're shooting EX3/ Letus/PL Super-speeds in small practical locations this week all with dolly shots and mostly inkies and tweenies so our PL lenses are at 1.3 on the dolly. The Director hates to gain up and the Gaffer cant control spill and bounce with bigger lights. I'll go with the 6DB gain so long as no one is complaining about the look of the grain to give the AC the shots at 4/5.6 wouldn't you? What is better shutter off or 6-9DB gain? Does it get worse during grading?
  10. Thank you so many variables, I am working with Arri super speed primes, and the witness marks are on again off again, I thought it was just with the Nikons. at 5' good. 10' great, 25' no good and so on. Do I ask the rental house for a different set?
  11. Hi, looking to rent the RED from a private individual. In LA, 2 days, mid October. Thanks
  12. Need to learn how to pull focus while on a moving dolly with talent that is freely moving in all axis within the frame. Need practical advise and tips please. Pl lenses / Nikon lenses.
  13. On Public Enemy Mann also used the PMW-EX1 XDCAM EX camcorder for additional footage. “At times, when Michael wanted an extra shot, acrobatic moves, or to get into small spaces, we used the Sony EX1,” Spinotti says. “I recently saw all the footage cut together,” he adds, “and I was amazed. The footage cuts together seamlessly. “Public Enemies featured a vast variety of challenges, including extreme darkness, extreme cold and hard to reach locations. No matter where we went or how hard we rode the cameras and lenses – the images were spectacular. Sony and Zeiss really came through for us on this picture.”
  14. AMC Glendora 12 1337 East Gladstone Street, Glendora, CA 91740
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