David Grauberger

Thanks for the feedback guys. The artificial moon is an interesting concept. I wonder if high in the sky while maybe a whitecard below to fill? Worth a try. I agree David that sometimes it doesn't need to be so practically motivated. For the close ups of Seth in the band by the fire, he is sidelight by the fire with a gelled LED on the opposite side as kicker. Because I knew it was going to be quick cuts, I thought we'd get away with it. Maybe if it was dialogue or longer shots it would start to appear pretty fake. Dont think I'd have tried at that point. Thanks!

Hi Tyler, Thanks for the feedback. I agree I looking at it after the fact, I wasn't happy with how dark my blacks went on the fire and piano stuff. It was my first time shooting with fire and I was worried to put some fill in the shadows without a flicker box to mimic the fire. I'm curious how that has worked out for you? In your experience did you have to flicker the fill a bit to hide it? On my fire stuff I did a criss/cross back light from gelled LEDs to aid the fire. I felt like with how quick the cuts are it hid the lack of flicker a bit. Still worried me a bit. Thanks for the feedback! Yeah the 4K does look much better to me. Youtube compression blah blah blah..!

Hey everyone, This was a low budget music video I DPed on epic dragon 6k. I had very minimal lighting. I mean minimal, like 2 1x1 LED panels. We pushed that dragon sensor probably too far... :) I'd love some thoughts and feedback. I had a great colorist and am new to the process of working with him. I'd love some ideas and thoughts back on where to improve and what worked. (kinda nice to hear what worked too, rather than just the negative :)

I've got a nice set of Zeiss Cp.2s to sell. These are in excellent condition. I'm willing to split up the set but if you take the whole set, I'll throw in a custom Zeiss pelican case. 15mm 2.9...... ........ 3200 25mm 2.1............... 2500 35mm 1.5............... 3200 50mm 2.1 Makro.... 3200 85mm 2.1............... 2500 100mm 2.1 ............ 3200 135mm 2.1............. 3200 All lenses in FT imperial scale. email for quick response. david@daviddp.com pics coming

Hi everyone, I've been shooting corporate/tv/doc work primarily for several years now. Im branching into more narrative/scripted stories and clients. I was just wondering if other DP's out there could talk a bit about how you found your gaffer? Seems like you need a good mix of skill with lighting, while also being a team player to aid you on set. Did they grow with you out of film school? Did you interview and hire them? Recommended by someone in the biz? How did you work out your creative artistry with their own? I'm also located in Denver which makes it harder to fill that position than say LA... Any advice would be great! David

Hello all, I'm wondering if other DPs can share their thoughts on specifically the shot list? I believe in order to be a great cinematographer its a marriage between the technical side of cameras, lighting, composition, color etc... and the intuition of telling a story through pictures. One cannot be a good cinematographer without both. I find a plethora of information online about the technical side of filmmaking, but little about the artistic story telling side. the problem is this: 1. the director hands you a script 2. the 2 of you, you come up with a shot list. 3. you look at every scene and recommend a WS, 2Shot, MS, OTS and CU (possibly coverage with inserts) done. there's my shotlist. But this will not give you Amelie, or Black Hawk Down. Inception was dreamt up with a heck of a lot more than just technical consideration. So my question is, how do you guys shoot for STORY? How do you dream up and shoot for Character? I find I get bogged down in the technical side of cinematography and in the end, things are lit well, in focus, and composed accurately. But somehow I missed the emotional impact of the story. I suspicion that what I'm seeking cannot be read in a book or article. I feel a bit like Van Gogh sitting down to a painting. Rather than putting feeling into the work, he sits there and remains in analytical mode in his mind. "use a filbert brush for trees...green compliments red, so use those next to each other...dont forget to put a base layer of brown before adding highlights... etc.." I find it very hard to create anything with emotional impact, when you remain in analytical mode in you mind. How do you guys juggle that? How do you manage the huge technical considerations of being a DP while at the same time switching that off and enjoying the creative art of picture taking. How do you engage your emotional creative side on set in the midst of constant technical questions? I hope some of that makes sense. My apologies if it doesn't....

I've got a pretty decent DSLR kit coming along. Originally I was in the same boat. Looking for cheap geat to get the job done without breaking the bank. Someone on one of these forums said "buy cheap, and you buy twice" I ignored him, but I must say that has proven to be true. Here's a list of my mistakes in purchases and how I've learned its actually cheaper to get the good stuff (and also look more pro to your client!) Cartoni tripod... ..upgraded to ..... Vinten vision 11 Lilliput monitor.. .................. SmallHD DP6 RedRock Mattebox......................Genus Superior Mattebox Indifocus.............................Genus Superior Follow focus (this I highly recommend), quick install and built like a bomb... I'd say spend the money atleast on a Genus Superior Follow focus. Definitely not the most expensive, but I've been really happy with it. The indifocus gears slipped and I'd miss the shot (not something you consider while your thinking cheap). Save time and frustration. Pros don't fight gear on a shoot, students do. Pros get what they need to do the job well and not interrupt the shoot with stupid problems. Just my 2 cents...

Hi Cody, I DEEPLY sympathize. I wish I knew more of what I'm thinking but I'm terribly interested in what your saying. I've nearly walked out of movies because I can't seem to engage in the story. The video look is too overt to me to engage. I did some research and most all movies I've had hard times with come back to the Genesis, F900, and the Viper. But even then I don't get it. Could it be the DP's shutter choices as people suggest? I've had problems viewing Miami Vice, Public Enemies, Date Night, Get Smart, Click, and 21. Its as if I'm standing on a film set with the actors reading their lines. I am a huge fan of these directors and DP's but cannot understand why the presentation looks so video-like. I'm replying to this forum just vent or sympathize with the look of these films. As a DP myself I'd like to know what is going on with these cameras and why the picture looks so Soap Opera-esc. Is it just the 360 degree shutter?