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Charlie Balch

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About Charlie Balch

  • Birthday 05/17/1988

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  • Occupation
  • Location
    Los Angeles
  • Specialties
    Cameras, Lighting, Shooting, The Outdoors, Exploring, Traveling, Other Cultures, The Color Purple

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  1. First off, Thank you all for your comments. I feel like I over-emphasized the jazz club element to my lighting scheme. The elements from a jazz club atmosphere that I would use are the dimly, yet dramatically lit, room along with accenting practicals. The way i worded my previous question conveyed the scene as stage with super hot lights, which it is not. I intend to light very minimally and intentionally. Brian you raise a great point not lighting for a reel, but lighting for the story. Another motivation for the "jazz" feel is the composition. In pre-production we have been given samples by the composer and they contain a very jazzy tone. Adrian and Brian: I couldn't agree more with killing the overheads and building up from there. And Janusz, I fully intend to light in a logical way and build a world for the story to exist in, I over-emphasized my intentions. Thanks again...
  2. Hey cine members, I am DPing a fifteen minute short coming up and I will capturing a story involving a janitor and an after hours office building. The mood I am trying to portray is somewhat like a jazz club in which I can play with alot of textures and convey a strong mood through the scene itself. Imagine a cubicle setting as the backdrop. My tools involve a Red ONE with slow Nikon Lenses and a small arsenal of 5200 degree lights (A 1.2 HMI and four 4bank Kinos) I have a couple ARRI kits on reserve as well but I want to be very careful with the CTB levels and the balancing. My main question is how do I reveal this world that that janitor is working in and still create a feel that it is night in an abandoned office. I am working through what might work as practicals (Exit signs, desk lamps, etc) Let me know if you have any thoughts/ideas, Cheers, Charlie
  3. Still recovering from the "Most" music video on Santa Monica Pier. Night shoots are so worth it.

  4. Brian, Your advice is rocksolid. The advantage of being a person that loves shooting is I can have something to show for myself with a showreel. I know that every cinematographer has his own style so I can see how asking different DPs questions during breaks on set would be a learning opportunity in itself. I hope to some day have the opportunity to simply travel and shoot for a time. Thank you for the response. Best of luck to you and your work, Charlie
  5. I am finishing up my senior year studying film production at Biola University near Los Angeles and I have a good number of friends who have interned for production companies. Through this many have learned a great deal about the industry while some have played a less active role and simply ran errands. I am a firm believer in working hard to achieve great things, but because my dream is to be a DP I was wondering if it might be a better path to seek out a cinematographer who really knows his craft and be an apprentice? I know the industry is all about knowing people while possessing the necessary talent and drive to move foreword, but is the idea of pursuing a mentorship/apprenticeship a bad idea? Thanks for reading, Charlie
  6. Were both lights fairly new? I know the age of the bulb affects the color temperature...
  7. Thanks Adrian for the advice. I'll be looking into German grip houses and lighting packages before I head out. I bet shooting in Africa was challenging at times... Also, Mark and John- I got Rossetta Stone and its a pretty incredible program. Time to study up. Thanks everyone for their help
  8. That is a good point Ryan... After all I just found out "Kino" is the German word for Cinema. I bet there is some correlation between the lighting company and the word. I need to also do camera tests to make sure my frame rates don't generate a flickr with the lights... Cheers
  9. I have an international project coming up this June and i'm seeking advice as to what kind of lights I should bring... The script calls for a combination of interior and exterior lighting setups. The majority of my interiors will be motivated grungy restaurant/apartment scenes, while alot of my exteriors will be mid-day on the streets. I am shooting on the SONY EX 1/3 with a 7D w/ 50mm 1.4 as a backup/skeleton crew cam. Through this I have solid low light sensitivity available. At this point I am thinking of bringing some K-NO DIVAs (2 bank) and a couple of ARRI aces and would love a Joker 1.2 HMI. I wouldn't forget plenty of diffusion and bounce boards for the exterior street shooting. The thing is I have to be practical seeing that my crew of 10 has to transport equipment as check in luggage on the plane. One of the major challenges I face is that I have never been to Europe or dealt with the 220 voltage. Any advice from any DPs who have to travel often? Let me know your thoughts, Charlie
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