Chris Warren

Hello, I have a shot in a future project where I would like to achieve it using a Movi/Ronin. It's a "one shot" type shot, however we will be using whip pans to hide cuts. I'm curious, how quickly can you whip pan with those? Thank you, Chris

I've been keeping track of my days on set (just on set, no scouts/meetings/coloring sessions) the past few years just to track growth. 2011: 75, 2012: 99, 2013: 151, 2014: 141, and this year I'm at 41, all but one day paid. Most of my days are working as a DP (a good chunk the 1 man band), others are filled with Gaffing or Camera Operating. I'm with Adrian on this one as to where the rates are, with most work being ULB or student thesis projects. I just try to stay busy and active, plus keeping the networking alive really helps!

I just did a shot like this above a bathtub! My key grip used two cardellini's & a double knuckle. One cardellini on the speed rail into the knuckle. The other side of the knuckle has the other cardellini holding the dovetail plate on the camera. Then a safety chain around it. Simple, yet effective. Also, please make sure it's completely safe before placing actors. And if there's a matte box, make sure it's secured!

"Here are my questions: What are the non union rates for the other camera job classifications? How many camera operator jobs exist in the non union world? What sort of annual incomes are we talking about? What about health care? What about saving for a retirement plan? These are all of the questions our young people need to be asking themselves now, when they have the time to do something about it. I don't think a day rate matters at all. What will you make per year is the important question." In my experience, which is about 7 years, 2 1/2 being full time freelance, very little DP/camera operator jobs exist without gear. I try to get a decent rate to survive here in SoCal/LA, but it's tough when people will bring more to the table (RED Epic, Dana Dolly, Jib, 3 ton) for the same rate, or even less. I forget who said it in a previous post, but with the globalization of cameras, everyone now days is a DP. Often I find myself & colleagues doing everything to pay the bills, ie DP, Gaff, Operate, Color, Edit, VFX, you name it. It's a tough market out there. An over saturated, tough market. - I deal with this a lot.

Hey Ryan, What Red are you shooting on? The easyrig systems are great, or you can look into the "DEFY" gimbal. A buddy of mine really enjoys his. As for a wireless FF, you can go with a Bartech, or a Preston.

Hello! I just wanted to get the community's feedback on my updated reel. Thank you for any advice/comments that follow! ~Chris http://vimeo.com/90390339

Hey Lena, I'm interested as well. You've come to right place! Contact Email: ChrisWarren112@hotmail.com Reel: www.vimeo.com/chriswarren Website: www.chriswarrendp.com

I saw an early screening of the prologue last night. F'n amazing!!! I was in such awe at the IMAX sequence, so beautiful!!! I cannot wait for this film to come out! I think this is some of Wally's best work yet.

Hey Guys, I have a shoot coming up and it requires some VFX work. I have worked many shoots, but very little dealing with any kind of VFX. I kind of have an idea on what to do, however I am hoping this forum will steer me in the right direction. I am shooting a scene where two actors are sitting at a dining room table eating dinner. The characters speak very little to one another. Appearing behind each seated actor is their clone/duplicate, the seated actors "thoughts". I need to shoot the same actor within the same frame, ie Moon/Multiplicity. There won't be any movement of camera, due to the lack of a motion controlled rig, so that won't (hopefully) be an issue. There will be character movement from the "thoughts", like walking around the seated character. The plan is to shoot both on location and on a green screen stage. On the stage, we'll be shooting all the needed shots of the couple seated at the table, the "thoughts" standing and moving around, and a clean of the table in front of the green screen. At the location, we will shoot a clean background plate w/o the table, matching all the shots from the stage. We will also get the individual coverage of the seated actors and the "thoughts", ie CUs, as well as inserts. That way the editor and compositor will have the needed shots to layer it together. Logs will be kept of everything to match the shots. Is there anything I am missing? I really hope I explained it well enough. I appreciate you taking the time to read this and your responses. Thank you guys, ~Chris

My new favorite lamp! So awesome!

Thank you for the reply! It is such a cool effect!

Hello all, I recently saw "Limitless" and one shot in that movie blew my mind. I can only describe it as an "infinite zoom", for those who have seen the movie you know what I'm talking about. I am curious as to how they achieved that shot. Does anyone know or have any ideas? I tried looking online for an example to show but no luck. Thanks, Chris

The author was my professor. She is a very knowledgeable teacher and cinematographer. I too recommend this book to directors and cinematographers alike.

Hello, How I've learned to do a booklight is a large enough light (I've used source 4s & 2ks) aimed/bounced into foam/beadboard, then having that bounced light going through some sort of diffusion (I like 4x4 open frames w/ 250 or 216). (Talent/Set) <-- [Diffusion]---<--<-----[Light(s) aimed @ Bounce Board]--->-->--[ Bounce Board I hope I explained it right ~Chris

Hello all, I have recently been given a Super 8mm camera and I am anxious to shoot with it. Now, I know where to buy the film, I am just curious as to where I can process it. Do I treat 8mm like I would 16 or 35 and go to Fotokem or an equivalent? Or are there other places that will develop it? I appreciate any help in this matter. I am located in the LA area. ~Chris

Hello all, This is my first reel and I am looking to get some feedback. I am getting new footage at the end of the month and I am curious to know what shots work for you guys and what shots don't. I really appreciate the feedback! www.vimeo.com/chriswarren Thank you, Chris

I am looking into getting a sekonic digital light meter. I've narrowed it down to either the L-558 cine or the L-758 cine. I'm just curious as to what the differences are between the two meters. I realize sekonic needs to keep making money. I just would like to know if the extra money for a 758 is worth it. Thank you in advance. ~Chris

I have agree with Mr. Boddington that you, "Bekah", are indeed affiliated with that so called "school". I mean really, with all of the spelling and grammar errors on that site, who can trust it? I do find it rather entertaining that "they" continue to fight for their scam when the evidence is clear that they are con artists.