Glen Silva

This seems like it's going to be exponentially harder than I first thought, but where would the fun be otherwise. Thank you David!

Thank you for your time David, it's greatly appreciated. I've also questioned if those short zooms were done in post and it does seem most likely. I need to leave some distance between the subject and the lens for some scenes involving chemical reactions and messy paint splattering however. So with this, would you recommend a certain long zoom with a diopter filter as my best choice or a long focal length macro? I'm willing to test both out as I prep these coming weeks. Thank you, thank you, and thank you for your invaluable help! -glen

I'm going to be shooting a short in September entirely in macro on a Red and to be honest, it will be my first time with any kind of macro. I'm going to start asking the rental houses around here (LA) for suggestions but would like to come in knowing at least a bit about what I'm looking for, which is why I'm here. I'm still trying to grasp the ratio thing but it's proving an alien concept for now. The general look is inspired by this video Karl X Johan - Flames but no similar shots aside from possibly eye shots. Any lens and lighting technique suggestions are greatly appreciated. Also, any definite pitfalls I should avoid will be indispensable! Thank you kindly in advance, -glen

Los Angeles Film School student here. We are encouraged to go through Film LA for any major shoots we do - but - get the proper permits at a heavily reduced cost. (I think all students have this benefit if you can prove you're a student). Small side projects are generally done without permits though. I've found just having identical ID lanyards among all the crew involved makes you look like a legitimate setup and the only thing you have to worry about is random people constantly coming up to you and asking what you're shooting. Always respond, "A mayonnaise commercial."