Drew Maw

Gotcha. So just shoot at 30p (29.97) and convert to 24p in post?

But how do you deal with flicker? I was in a conversation just yesterday about this very thing: a DP used fluorescents and was able to avoid recording the infamous flicker lines. I know you can adjust shutter speed/angle to deal with it, but it never gets rid of it completely... Also, you can put standard fluorescent tubes in kino banks? Why would someone do that?

As I'm seeing it, and this might have been a limitation of physical space in the kitchen area (and I'm not aware of the entire blocking), but the 1.2k booklight (3/4 front-right) shooting through the 4x4 opal is more likely the problem. Or, more specifically, the distance of the 4x4 opal to the subject. It's very difficult to get a proper booklight look without at least a 6x6 diff in the equation *depending on distance between subject and diffusion though. Since the coverage is mostly wider with inserts, the distance between the subject and the booklight "source" is paramount to the non-sourcey natural shadowless (ambient) look. Since the 4x4 opal is likely at least 6-10 feet away from the subject, you're likely to reduce the effect of the soft-look, since now your 4x4 (at the greater distance) reduces it to what could have been achieved with a medium softbox. Does that make sense? So, if the diffusion is further away, the booklight needs to be compensated with a larger source area (i.e. 6x6 frame or larger), which would give you more wrap. There again, that could have been the limitation of not having more firepower (as you were saying). Fascinating topic though. :) Lighting downstage is always a toughy.

This is exactly what I needed! Thanks guys!

Magic Bullet Looks has a fast and easy way of doing streaks in post. And, you can change the color of the streak, if blue doesn't suit your fancy.

Yeah I've used tapatalk for other forums, which is amazing! But it's not supported here. Using the iOS browser just isn't nearly as good.

Quick question: is there a way to access this forum via ios app? Thanks!

Hi, I'm looking for a great Gaffer (and team) in NYC on June 13th. It's a fashion/commercial shoot. -Drew Maw

I'm assuming that you must have meant 320 right?

I would say that's very accurate. The only problem with the CP.2 lenses is that T2.1 is (imho) too slow. The benefits of using CP.2 lenses, doesn't outweigh the costs (vs ZE). Unless you're renting cine-tape, but look at Redrock's remote follow focus system, it sure seems like with this unit, you can calibrate any lens to be used to pull focus in a professional environment. Their microtape is a game changer

Thanks man, glad you like it :)

I've been studying underneath Eric Steelberg (DP on Juno and Up in the Air) for the last year, and David Mullen ASC has expressed his interest if schedule/production permits, but I'm wondering if there are any other ASC cinematographers here that might be interested, here's some of my work (a lot of which I'm still waiting for from post, that I've shot this year [bigger stuff]: www.drewmaw.com I have my BA in communications, and the mentorship is a part of my MFA studies out of SF's Academy of Art University Cinematography program, which I'm doing online out of Los Angeles, which is why the mentorship is so crucial for applying the theory that I'm learning in class. Thanks! Drew Maw drewmaw@gmail.com (530) 262-7096

Thanks Mr. Mullen for replying. I'm a fan of your work. I guess the better question to ask then, is how do I take advantage of being in the IA? Besides Mandy.com and "networking as usual," I'm not sure how to take advantage of this new world of "union" work. From what I understand the entry fee for DP's now is $14,000, but you can pay it off over many many years, but there again, I don't even begin to know where to find IA DP jobs. What do you suggest?

So, I became aware of how close I am to being eligible to getting into the Local 600 as a DP. And I wanted to get an idea of what that means, in regards to what I can work on, and what I can't? Whether there is a right time to join or instances where waiting is more beneficial? I know once you join, you start paying down your entry fee dues, plus 150 bucks every three months, plus something like 1.4 percent of your total income. I can understand the pros and cons of the fees, but I'm curious about when it is the right time to join, or if joining is a no-brainer? I'm assuming that when you join, you're at the bottom of the totem pole, and I'm sure you don't get very much work through the Local 600 itself. The Local 600 isn't an agency obviously, but i've heard that people do get "some" work from being apart of the union. The obvious benefit of being in the union is working union gigs, but there again, all the gigs I DP aren't union anyways. So, that all being said, I hope that you can see the various thoughts that are rolling through my mind, and if any of you can point this lost lamb in the right direction. All the best, Drew Maw

still no guesses huh?

bump

The style of this commercial is beautiful, but more specifically, does anyone know how they executed these camera moves? I've seen this technique before with a camera magically attached to a car, but nothing is actually holding onto the car (which the rig was presumably rotoscoped out), but I can't understand how they could achieve this. I've looked everywhere online for any BTS, but have found nothing. http://www.youtube.com/watch?v=PbcnH0h69NY

Magic Bullet Looks :)

All L-Series glass. And that's funny that you ask about the lens flare, because yes, it was added it post. We tried to create flare on set, but you're right, it wasn't happening, we eventually dedicated one Leeko 750 to shooting directly at the lens, and it still wasn't flaring!! lol. It was just making the lens a bit foggy. So I said to myself... "hmm... now I know I can add lens fog in post, but this isn't the flare I was looking for." so we decided to create what we could in post, and it turned out that it was much more achievable than I had feared. Thanks for the nice comment :)

I couldn't figure out how to embed... here's the link. Let me know what you guys think :) All shot on the Canon 7D. http://vimeo.com/11826419

I've been hired to shoot an R&B music video this weekend and most of the people (if not all of them) are black. I have DP'd a short film a while back that had black people in it (my first experience with filming dark skinned people), and I wasn't entirely pleased by what I could perceive as being a need to utilize a different technique that was designed for dark skin. So, I was curious if you guys had any tips/tricks on how to approach lighting black models and actors. I've heard of one technique, which is to add CTbrown gels to the lights, which hide the prevalent pores, but there again, I haven't tested this approach. This is my second time filming black people, and I want to make sure that I'm covering all my bases. Any help is much appreciated :) Drew.

I'm not too sure as to why I'd be taking advice from someone who is "certain" that digital cameras have real shutters of some kind... because they don't. And, you're not familiar with one (or two) of the devices that I have listed in my original... why are you giving me advice again? and you're calling me arrogant? Give me a break!

Shutter speed and shutter angle are the same thing for different mediums, here's something from my site, sourced from another site: http://drewmaw.com/148/converting-shutter-...-shutter-angle/ Yes, I understand that a film camera's shutter can be adjusted via speed and angle, but on a digital camera, there is a sensor refresh rate, which translates to shutter speed. There is no spinning disc in a digital, obviously, but there is a SPEED in which the sensor refreshes, which is IDENTICAL to how a shutter disc/angle reacts to film exposing. While you're right, they aren't the same thing, they accomplish the same things. Yes, with the RED and the 7D, you can adjust the frame-rate per second (aka f/s or fps) and independently, you can adjust the shutter speed (aka the speed at which the sensor refreshes every second), much like a shutter angle. From what it sounds like, I'll have to just keep translating angle to speed in my head, opposed to have the meter just switch from angle to speed (which would seem easy, which is what the Spectra IV does). Switching the L-758c f/s on the meter to shutter speed doesn't fix the problem. I"M NOT SHOOT STILLS. Yes, if I was shooting stills, then it wouldn't matter. I want to be able to set my FPS and Shutter SPEED separately, and no 1/48 DOESN'T EQUAL 24FPS (that's absurd). I have and like shooting 1/1000 shutter speed at 24fps.

This is incorrect. The reason I say that it's incorrect, is because if I shoot at 24fps at 1/60th, and I have a keylight at f2.8, if I dial my fps to 60fps at 1/60th, then I'll read at f2.0 approximately, and if I change my shutter to 1/125, then my keylight will now read at f1.4. Again, the fps and shutter speed are independent of each other.

Example: when shooting on the RED ONE, or Canon 7D, or any prosumer camera like the HVX200 or the Sony EX series, including cams like the Sony F900, F23, F35, and the Panavision Genesis, etc, etc, pretty much any digital camera, you can adjust the frame-rate and the shutter speed separately. The frame-rate can be 24, while the shutter can be 1/60 or 1/125 or all the way up 1/2000th of a second. Similarly, you can also have a frame-rate of 120, or 60, and then choose different shutter speeds as well. Shutter speed and shutter angle are the same thing. Shutter speed is just a digital measurement (sensor refresh rate) for a new technology (digital sensor), whereas shutter angle is an analog measurement (a spinning adjustable disc) for an analog technology (film). So, your understanding of shutter speed is incorrect, whereby, shutter speed and fps are completely separate measurements that affect the final image differently. Where are the pros!!?? We are seriously getting off track. I wasn't posting here to hold a workshop! Not that I don't mind teaching, but I've got a serious shoot (pilot) for MTV coming up!