Glynn Albert

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!

Can shoot Black and White in Camera, if not, is there a best profile for desaturation in post?

Why don't you set a wider aperture? Even a 2.8/4 is pretty comfortable for a 35mm AC and will reduce your gain.

Thanks. We got it, just needed to practice the shots a bit.

I don't know that the grain in SPR had anything to do with "reality," although it may have called to mind newsreel footage of the war. I think the grain added a "texture" that simply feels more rough, and therefore appropriate to evoke the hash conditions of the battlefield. I think the whole look was designed more to evoke a feeling and association, using familiar visual cues only as a basis.

 

I don't know what techniques they use to add noise/grain to Battlestar, but there are some pretty good post processes available that can add grain to a digital image to help it intercut with film (BTW: link).

 

I don't think HD can be made to look exactly like film, but if you're going to create a stylized look anyway then it's not hard to come up with something effective with high-end digital tools. Especially once you pull out the color, the limited color depth of HD compared to film goes away. B&W HD can look pretty sweet if done right, although again, not the same as film.

 

As for making something look "real" -- that's open to interpretation. You could say that the look of The Shield isn't trying to be "real," it's a drama that uses some cinema-verite techniques for emphasis. Compare that to Cops which is as "real" as it gets, photographically speaking. If you want to imagine Shield on HD, take a look at Rescue Me.

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.

Hey Glynn,

I agree with Tebbe. It's a very nice selection of shots, but for a proper montage reel, you'd want more variety. You could, however, go the other way and show brief sequences from a few projects which helps show how well you can match and shoot for the edit etc. But, again, you'd want to have around 3 different projects in there, I'd say.

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.

Hi,

Im Glynn please take a moment to critique my reel.

Reel

Feedback is always welcome.

Here is the link,

www.vimeo.com/6827720

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

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?

Since it's so tough to pull focus on those SLR lenses, I would highly recommend you speak with the DP & Director about actually getting specific marks for the actors to hit, rather than letting them roam freely throughout the scene. A good actor can hit marks and make it appear just as natural, so that would be your first step.

 

If it looks like you're gonna have to wing it, get as many references you can to objects in the area that give you good distance references in relation to where the actors will be roaming. Tables, counters, props, etc.

 

Pay close attention to the rehearsal, and get as many measurements as you can. Place some rough marks throughout the space, basically for your own reference if they're not actually going to hit them. For instance, if an actor crosses the frame 5' in front of you, mark where that is, and if they move in front of or beyond that mark, you can adjust.

 

For CU's, there's no reason why you shouldn't be able to give them a mark. So on the day, take initiative mark them.

 

1st AC needs to be pretty rogue on the set, but if you're not getting what you need to keep things in focus, you gotta be vocal and communicate with your DP. If the director bitches, just ask him/her whether he/she wants the shot to be in focus or not ;)

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?

Well for starters, Nikon still lenses won't be your best of friends, as they typically have very few focus markings, and the barrel is so small you pulls are miniscule.

 

But in general pulling from a dolly can be tough even with cine-style lenses. There are a few tricks depending on the type of shot that can help.

 

1. Laser Pointers. Clip or Velcro a small laser pointer to the side of the dolly, aimed down slightly so it hits a desired spot on the floor (out of frame of course). This can be great for certain types of shots, especially walk and talks, when the camera is dollying back as people walk towards the camera. If you know your distance to the laser, it becomes much easer to guess if people are a few inches off, than if you are trying to guess if they are at 10' or 10' 4" from the actual lens.

 

2. A very good dolly grip. A dolly grip that hits their marks at the appropriate time is invaluable to you as an assistant. The more off their marks they are the more your have to compensate on the fly.

 

3. Know your space. When I am waiting around for lighting and such, once the camera has been set, I just measure lots of distances that seem relevant. Use landmarks in the room, table to couch, fridge to sink, door to door, etc...general distances that you can use during the take. I often write these distances on a piece of tape and put it on the mattebox. So if things change I can quickly see, oh we are near the door, and they are by the couch, I know that is 'x' feet.

 

And in the end just practice. You will develop a feel, and the ability to come closer and closer to judging distances. And remember, always guess a distance before you measure it!

 

Good luck.

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?

Hi, looking to rent the RED from a private individual. In LA, 2 days, mid October. Thanks

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.

From what I'm hearing the EX1 was only used as a B Camera, but I have no idea if that's true. I could see it fitting into the production, though, under such circumstances.

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.”

Theaters with Sony 4K Digital Cinema Projectors:

 

http://pro.sony.com/bbsc/ssr/mkt-digitalci...Locations.shtml

AMC Glendora 12 1337 East Gladstone Street, Glendora, CA 91740

I assume if it's a music video, you will be shooting to playback, in which case, do you really need a sound stage or just a black cove type area? I guess finding the power outside of a sound stage might be difficult?

 

love

 

Freya

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

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.

THANKS EVERYBODY, ONCE SHOT I WILL POST THE PICS OF THE SHOOT WITH SOME OF THE SUGGESTIONS IN PLAY... THANKS AGAIN!!!

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

Personally, I'd go with a slightly lower image quality to get it to start playing faster, though having the option to select the smaller file size as you've done does cover that if you're not comfortable sacrificing on the picture (and I can certainly understand that -- I just find that if it doesn't start playing within 15 seconds, I surf elsewhere unless I'm on the site for a very specific purpose as so many websites I visit never load). Incidentally, you'll want to proofread the text around the link to the smaller version.

 

I'd also suggest trying to shave about 10-15% out of the reel. Each shot you include should be showing a different aspect of what you can do, and in preserving the story arc of some of your footage, I think you're including stuff that is redundant from a photographic point of view. Also, your night work is beautiful, so I'd recommend trying to get that earlier in the reel, as precious few people watch reels the whole way through. All that said, you've done a good job editing it all together to have a real sense of narrative, which is essential in a reel, so if any of these suggestions muck with that, then don't do them.

 

I also think you've done a great job in including on the website the one thing that everyone who is looking to hire someone needs: the information about why to hire you and not somebody else. In this case it's the equipment list. Looking at your website I know that I'm not only getting a DP, I'm getting a rental package as well. However, you may be limiting yourself to video work right now. You may also want to include a list of other (film) cameras with which you've got a professional relationship, especially if you've got an in with a rental house and can get them for the producer below rate-card prices.

 

Nice work overall!

Thank you. I had not considered these points. Thanks.

Janitors work harder than camera operators. That's why they get paid more.

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.

The reel is really nice, i like it alot, i might have added a little more 'fast-paced' music video footage, but other than that, i can't think of anything i would change! keep up the good work.

Nice , I would like to see a bit more variety in the color

EN,

 

I am very happy with the Letus Ultimate EX3 Combo. I have not done a formal test however, the Ultimate is only slightly limited by the light loss issue. Sharp, deep-focus images can be obtained, given enough light but be sure to get the Ultimate with the spinning ground glass, the other models vibrating type (when stopped down over 4.0 will show the ground glass). light lost in the system is between 1/2 to 3/4 stop max. See the Letus comparison chart for more details. The only down side to the Letus is that the tech support is terrible, it sometimes takes a day or more to get a call back, they don't staff the line with a person on hot standby.

 

The main thing to consider is the lenses. You want to get the fastest lenses you can afford. that gives you the most flexibility. Also lenses have a sweet spot check out the reviews on each lens it is usually around 4.0 to 5.6. For the deep focus shots you might want to go without the rig for extreme depth of field. but if what you want is shallow DOF then go with the Letus Ultimate and stop down in camera. You can see shots I recently did with my EX-3 and the Letus Ultimate right HERE

 

Glynn

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.

Why include an equipment list (of owned equipment) at all? THAT limits more than anything else. Ideally, you're out there selling YOURSELF... your skills, experience, and personality. The gear is secondary (or fourthadary! :P )

 

The problem with including gear as part of your selling point is that by telegraphing what you already own, you may inadvertently be prejudged by potential clients who may want something that you don't have or who want a specific skill that you can do but don't own the gear for at the present time.

 

Again, IDEALLY, you'll market yourself and get a call. They tell you what the job is and you discuss the logistics and equipment needs for THAT SPECIFIC PROJECT. You may have everything you need and you may not. But what you currently own should be inconsequential. If you don't own it, you'll subrent it and charge the production the rental cost + extra. Or you'll purchase it (if the project is long enough to justify a purchase) and bill as if you owned it anyway. Either way, by telling the client ahead of time what you have in the garage, he may look at such a list and decide (before talking to you) that you aren't the right person by virtue of what you just happen to own at that moment. When going on a job, your skills are one thing. The gear is, and should be, an entirely different matter.

 

If gear has to be mentioned, it should be only in the context of what you are qualified to use, particularly if there is specialty equipment involved. Otherwise, sell yourself only, not the gear. That invoice will take care of itself. :)

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?

Janitors work harder than camera operators. That's why they get paid more.

I am taking a bit of flack here aren't I.

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