Jump to content

Glynn Albert

Basic Member
  • Content Count

    41
  • Joined

  • Last visited

Everything posted by Glynn Albert

  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
  15. These lights are 9,000 watts each we need 2, I thought it would be most efficient to rent them, the distro and a stage complete
  16. Planning to shoot a music video on a large black stage with these 2 of these 9nites on crank stands, anyone in LA know of a stage that comes set up with these lights and the contact information? it would be much appreciated.
  17. well, our crew consisted of two people and we were so overloaded we did not get a chance to use most of the suggestions but ended up using 2 1.2K HMI PARs and a Kino with tungsten bulbs you will see the shots here
  18. I have to respectfully disagree, if that were the case than Janitors would be paid more than lawyers. Because Janitors surely "work harder" than lawyers. Would you not say that pay is generally based on the application of specialized knowledge? Cinematographers and photographers who have educated themselves surly fit that bill.
  19. One other thing that I forgot to mention is that although only about 1/2 stop is lost in the Letus, the place where you loose the most light is in the stock fujinon lens of the camera itself, this is because you have to use the zoom feature in order to get the frame filled up. So you'll up 2 stops their in camera, people are not aware of that. For a total system loss of 2.5 stops. The work around is the Letus Relay for the EX3. with this device, you remove the stock camera lens and replace it with the relay and you gain back at least 1.5 stops, so your effective loss for the system goes back to about 1/2 stop. This is nice for low light situations not necessary if you just gain up a bit in camera, but some people must have the best of the best, and with a price tag of $4,000 it brings the Letus Ultimate system with teh EX3 relay and Zeiss prime lenses to about $15,000. That,s more than the price of the camera, but if your concern is light loss the relay is really the answer.
  20. Yes, that's a very great point Brian. But as a newbie, how best might I stand out in LA with 10,000 plus other camera operators and wanna be newbie DP's liek me. Please Visit My Reel Ultimately there is no secret but to hang in there. Right?
  21. Hi, I have a client asking me duplicate a look he say in a music video, I see 2 9lite Fays as back light and strong soft key. Thats alot of watts and amps. about 16,000. Of course they want to do it on the cheep in LA. They want the walls to fall off to black so we need at least a 40 x 40 space and all that power. Anyone know of a place that has good rates with all this stuff included? Email me Glynn
×
×
  • Create New...