Mitch Lusas

Hey Tim, yeah I asked about taking a test to pass the first phase but they said that's not how the program is designed. I've asked about the refund and I am awaiting a response now. It's hard because I know it's not for me, but I feel like I'm letting down the instructors and I can't stand letting someone down. Thanks for the reply, I'm just going to try to get out of it right now.

Have they already filled up all slots?

Hey Guys, quick question: I got into a new Film Training Program. It costs a little bit of money and takes up a lot of time, which isn't extremely bad, but there are two weeks of very basic training (6 days and 9 hours a day). I love film, but I'm not the biggest fan of classroom environments. The stories so far (two days in) have been good, but I have not really learned a lot of new information, and the rest of the two weeks seems to be more of the same. When I first signed up I thought it was going to be more intensive training detailing with specific legal and business issues involved in the industry. It's more of an intro to the film industry. Basically for the first two weeks, we spend a day looking at each field in the industry. Having working on sets and plunging into severe debt for film school, I'm not the most excited about this. However, you have to go through all of these classes in order to get to Part II, where I would be taking a two-week class with Doug Hart as we examine a 35mm camera. Doug is a great and knowledge guy, and it seems like a lot of fun. But I'm not sure if this would help me get into the Union (Local 600), which is my current goal. Don't get me wrong, I love hard work, especially on sets. But I'm not sure if the financial/time commitments are going to pay off. Any suggestions? What would you do?

Canon and Nikon both have their niche. But with the latest dSLR's that came out, Nikon seems to have the economic/features nailed. The D300 is a great choice that offers extremely low noise at ISO1200. The D3 is a great full frame dSLR for a great price. The D3 is great as there is little need for conversion in the lens, so you can use it as a semi-director viewfinder. I like the form factor and user interface of the Nikons better. Before getting a dSLR check out the lenses and accessories. When you buy a dSLR your buying for the system not just the camera. So take do a little research and find what you want to go with.

I love the look you're going for and I hope you achieve it. Either way, definitely put it up for us to see once you're finished. Feel free to message me once it's done. What are you shooting on? If Super16, then I would advise against green/blue/red screen as the film jitters every so slightly, making it awkward in post. HDv is great except you need to make sure you're running on a low GoP for your camera (you're DP will know the best cameras). First, since you're looking for a lot of greenish light, stay away from Green screen, you're lights will be making everything green. Whatever light you plan on using the least, that's probably the type of screen you'll want. I've even heard of someone using a Purple screen, though I have never done so. Second, the size of your Matte Screen will depend on the action you're trying to cover. However, the bigger you go the bigger and more constant spread of light you will need. You may want to think of doing some motion control. By that, I do not mean true mechanical motion control, but rather, add 1"-2" dots on your matte screen that will serve as tracking points. This way you can do a moving shot and composite it in post. But you will want to experiment with this before you choose this method. It's a little late, so I apologize if some of this rambles or doesn't make sense.

He definitely has some great photos and concepts. I agree with Michael, though, the lighting setup is actually quite familiar in fashion photography. There is definitely a lot of post work and make up work. Being a photographer myself, I have learned that you cannot equate a photographer/editor with a cinematographer/gaffer for three reasons. 1. Photography is a medium focused on one frame, one pose, one lighting setup. Cinematography is focused on multiple frames, many moving parts, and complex lighting setups made to match together. 2. Editing. Photographers know how to edit a shot. It's crazy what can be done; I've replaced skin, changed lighting, added shadows, made the skin more three-dimensional with burning/dodging, etc. While there is editing in bigger films, they do not go to the same extent as photographers do/can. 3. The lighting units. This is more in response to strobe lights. They are smaller, more powerful and more versatile than continuous lights. You can really achieve any f/stop, shutter speed, or color you want with very little changes. Saying that, I believe working on photography, especially with strobes (which you have to imagine how the light will look) massively helps cinematographers/gaffers. Thanks for posting his site, it was great to seeing his work. He has very interesting concepts.

Even better than a program, there was a Sun Position compass out about a year ago. It was a small chart that you put a compass on, and you would use the chart along with your compass reading to figure out where the sun was coming up and going down. Sadly I cannot find this anymore. Does anyone know where they are sold now?

Sargent's paintings are amazing. But this one above does not seem possible without SFX or green screen. The shadows on the musicians to the left seem to indicate that the emanating light source is directly on the floor in front of them. While I love this look, I think it would be hard to get. Any thoughts on the subject? Sorry, I didn't mean to hijack. A huge modern inspiration for me is Pino Daeni. I love his pastel color palette and wonderful use of highlights and texture. Though I normally love deep shadows, his work does not seem to focus on this. When I first started as a DP I actually worked on something that allowed me to work in a similar style, but I hadn't really discovered his work at that time, so it was more of a hindsight wish that I had experienced his work before then. Enjoy some of my favorites.

Hello Kirill. You may want to check out the HD section in the Cinematography forum. They may have more advice there. HD is a great way to go. For instance, with the SI-2K (Silicon Imaging HD camera), you can actually take the green screen out and put your matte in 'in-camera'. This is only for reference work I believe, but still a great feature. Check out the other forums for more advice.

140 lumens per watt!!! And they're so small. I would love to be on the first shoot that was able to use them.

Hey Alex. That's a big feat in cinematography. Strobe lights can achieve this due to the small size (easily controlled light; no spill) in relation to the huge amount of light it throws in a fraction of a second (thus allowing you to play with your shutter speed to achieve the desired effect). The only thing I can think could do it would be special effects. The big film lights needed to light the car would throw light all over your landscape in your wide shots, thus ruining your effect (think Musco lights). Besides green screen, rotoscoping or an expensive light setup the effect you're thinking of would be extremely difficult. All the best in trying to achieve it though. Keep us updated.

I made tubes out of cut PVC pipe (or you could use shipping tubes) for various sized lights. Gaff tape the bottoms. Drill holes at the top, run trick line through them and presto, a cheap handle with which to clip or hang anywhere (very useful for putting each tube with a light). This handle is also great for storing pegs. If you wanted, you could keep the tubes organized in a milk crate.

So I've been in the independent scene for three years as a Cinematographer/Cam-Op and I would love to see what the union scene is like. Having just moved to a new area (Connecticut), I'm lacking in local connections but would love to join a crew as a Camera Production Assistant. Any advice? Thanks.

I second the use of school rooms and dance studios. You may have to rent the dance studio though...$10-$15 an hour.

Think of them as gels. So black is like an ND filter. I love to keep multiple colors on hand for use in varying lighting, quickly eliminating reflection on metal, or quick production design. Just be careful, Streaks n' Tips has a tendency to permanently bond to some clear plastics...not sure what kind, sorry.

While a Nagra V is great, it is also amazingly expensive and only have two-inputs. The Fostex FR-2 is cheaper, uses a CF Card, but again only has two-inputs. While I have used both, and like them, I'm really interested in 4-inputs at a good cost. My research has pointed to the Roland R-4 Pro 4-Channel Field Recorder. But I have never used it, or spoken with anyone who has used it. Does anyone have any opinions on it? What are the pros and cons to this unit. (I've read some reviews online, but none from a filmmaker). Thanks so much.

After you're finished your third draft of your 115 page screenplay, find the most pivotal moment in the characters journey. Create a short 10-15 page script on this moment and focus/film those 10-15 pages. All of the work you put into the full screenplay should develop the characters well. Having picked the most pivotal moment should make it very interesting (if not, then the 115 page script will flop). Allowing you to focus on 10-15 pages will give you the chance to sharpen your craft. Each detail will take on the outer-most importance. In good filmmaking, it's quality not quantity. The great thing is that you will be able to use this short film to promote the feature length (if you're still excited about the idea), and you can enter it into festivals. If and when you decide to do any other project you can refer potential crewmembers/investors/actors to the short film allowing them to get a glimpse of how you tell stories. I share this with much experience. I've made the mistake twice already of choosing a bigger project instead of focusing on something small and giving every second it's chance to entertain and tell the story. Trust me, you're asking for a world of hurt of you jump into a big project.

Even though your project dumped the SI-2K, there are two factors to keep in mind. First, get extra long cables to run to the laptop. We had an unfortunate event happen where we didn't have enough cable for a necessary handheld shot. We ended up placing a hard drive in a backpack and hand-holding a laptop. It was hell. I also just talked with a buddy who finished shooting a music video and he found a problem with the OS running the camera (it's Windows, so.....). Basically, if the battery dies while booting up the system, the OS will be wiped from the flash drive. At least that's his theory. So make sure you've got fresh batteries. I'm sure Jason can fill in if I'm wrong on this, or if they've fixed it. Another thing to remember is that the histogram has about a centimeter buffer on the right side (highlights), so watch your levels. Personally I would wait to purchase SI-2K SR (as I call it). It'll do away with the umbilical cord tying you to the laptop while also providing you the option to go to the mini in case you need to do some steadi-cam-ish shot, or put the lens in a tight place. It's a blast to work with and it's great to see that some of their top engineers frequent the site, listening to our feedback and improving their products based on our experiences. Top notch.

Hey Niki, you've got guts and the drive. Would love to see some of your work. I hope you do well out there...oh, and definitely try to find people out in LA before you leave. They'll help tell you where to go/not go, and may even be able to suggest your work on a last minute crew-position.

Dante Spinotti! It was his cinematography that first inspired me. He has such a great upbringing in the craft. I firmly believe he is a bridge between classical and modern cinematography. I've been so tempted to contact him and see if he would allow me to intern for him. So if anyone knows him, can you put in a good word? I'll be there!

How much for the 2K Fresnel? I'll be in NYC next week and am need of a 2k light. You can email me mitch at mitchlusas dot com Thanks,

Well I would say a massive plus over the Red is SI-2K's modular design. By that, I mean it's ability to either use the big SI-2K, or take the Mini off the body and shoot with that. While it requires cords for monitor display and media output, this great helps in handhold operations or placing the camera in hard to reach places. The light weight of the mini also makes it idea for quick rigging and any mount that only holds DV camera weight. That's a huge advantage. While I still get tempted by 4k resolution and ability to use 35mm, I also know that SI is working on a 35mm adapter, and that 4k is a little overkill for right now. Especially when you consider that most special effects shot, until Spider Man 2[/] were done in 2k resolution. Now that SI is getting the kinks out of the post-production, it seems like a great choice for any production wishing to have HD footage with lots of control over the image from production to final edit. Quick questions about the software. How is the stability of the program coming? And why did SI choose a Windows platform? Thanks,

I've searched the boards, and I can't find a thread about great DP DVD Commentaries, so one is starting now...hopefully. Do you know of DP commentaries where they talk about the lighting setups and other practical information? What commentaries do you like the best and why?

I know that right now Hollywood is upset with the pirating standards upheld by Canada. For instance, you can bring camcorders into the movie theater if it is for personal use. I love Canada, but this leaves a gaping whole for movie pirates. Regardless of laws, the morals behind this illegal activity forms a basis as to the human condition. That is, the "I deserve this" mentality. No doubt, that teacher felt like she deserved to show the class this movie because it simply existed; and if it existed, she should have a right to it. She probably thought it would inconvenience her and her students to have to pay for it. Sadly, this judgement of her is the best credit we can give her. I apologize if this reply does not make sense, I'm a bit out of it but decided to post due to my personal hatred of movie pirating.

It seems like you're looking for two books. One that talks about crew responsibilities and another that deals with preparing as a director for a scene. While I don't personally know about a book that deals with crew responsibilities, I'm sure one is out there; probably for producers. As for the preparation for the scene, I would say Film Directing Fundamentals (2nd ed) by Nicholas T. Proferes. This book breaks down scripts and brings them into storyboard form. In the end of the book he analyzes Hitchcock's Notorious, Weir's The Truman Show, and Fellini's 8 1/2. While there seems to be a focus on storyboards (not always useful for DP's) the book does delve a little into overheads (extremely useful for DP's and Gaffer's). This book will help you break down a script and find the story that needs to be shot. Hope that helps.