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Jonas Fischer

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About Jonas Fischer

  • Rank

  • Birthday 10/22/1992

Profile Information

  • Occupation
    Cinematographer
  • Location
    Zurich, Switzerland
  • My Gear
    worked with Cinema EOS, RED Epic/Scarlet etc.
  • Specialties
    Also sometimes working as a Lighting Technician, worked with the CRL System, amateur still photographer
  1. Hello all I'm just wondering how all the people on this forum came to making films. I remember very well when I shot little action movies with my brother and my neighbour in the backyard, equipped with our parent's old video camera and some plastic guns (It's actually not even that long ago :blink: ). And from there I somehow slipped into the "real" filmmaking world. So what were your first encounters with a camera? It would be very interesting to hear some good stories. Jonas
  2. Hello all I was wondering how one can achieve a steady car interior shot. I'm pretty sure that a simple tripod won't be steady enough. Any ideas on how to rig a camera inside of a car? Thanks a lot for your help. Regards Jonas
  3. some of my favourite images: Road to Perdition Inglourious Basterds Inception Schindler's List
  4. Hey Ian Thanks a lot for viewing it. I agree that the spatial orientation isn't always as clear as it should be. That was probably the hardest part of it all. The director and I discussed the camera positions for hours and hours. We used Zeiss CP.2 and Red Pro Prime Lenses, and shot with the S-Log feature, recorded to a pix 240. A picture of the fully rigged camera: http://dynamic-frame.ch/images/makingof/makingof2_big.jpg The room was on the third floor, so the moon light is coming from 3 Arri T1 Fresnles on a condor. The interior was mainly lit with the practicals and a 650W Soft box. We also had a small pipe dolly. Regards Jonas
  5. Philip Bloom also made a detailed review of the fs700 http://philipbloom.net/2012/05/25/240brighton/
  6. Hello all Please have a look at my latest cinematography work "Der Ring". It's in german but I think it's pretty self explanatory (and also, I'm posting this for the cinematography): A couple discovers that the wife's ring and jewelry is missing from their hotel room, which leads to a heavy argument. It was shot on a Sony F3 in March 2012, in a single 18 hour night/day. Any crtique is very welcome. Thanks for watching Jonas Btw SPOILER: the second to last sentence means: "It's only jewelry!"
  7. Hello all Here is a music video that I shot last summer on a rented Red One MX, I hope you like it. www.youtube.com/watch?v=Nn2OwoplD1k What do you think? Thanks for watching Jonas
  8. I'm not really familiar with the alexa, but the FAQ-Section obviously is :) http://www.arri.com/camera/digital_cameras/learn/alexa_faq.html?no_cache=1
  9. I have found that the Redrock 12" whip works pretty good, (though i haven't worked with any other whip). It's not too "springy" and my focus puller has hit the marks every time.
  10. I can recommend the D-Focus http://www.dfocussystem.com/dfocus.php It isn't great regarding gear play and sturdiness but for only 140$ it's about the cheapest ff you can get
  11. Additionally, the CPs have 14 diaphragm blades, producing an almost perfectly round and in my opinion more beautiful bokeh than the RPPs with only 7 blades (if I remember correctly).
  12. I've used the RPP AND the CP.2s on my last shoot and besides what Matthew already pointed out, I found that the flares the RPPs produce are pretty ugly (somehow rainbow like) whereas the CPs produce much nicer flares.
  13. I've had quite pleasing results with the 14mm. I shot a short film on the 7D and used it rarely, but the images it produced were just fine, not outstanding but adequate for the price. Not too heavy distortion and vignetting (given an APS-C sensor). Have a look at the attached framegrab from the film. I can definately recommend it for Video. Jonas
  14. Hello all I am the DP for a short film that is going to be shot this summer. The script demands some sort of transition from the imagination of a character to reality, with him, in both worlds, just sitting in a bus . My Idea was to pull out from a macro close-up of his eye, in which you can see the last glance of his Imagination (VFX), to about a medium close-up of him sitting there. I would do it with a 100mm 1:1 Macro Lens on a dolly, but the director thinks it won't look good because it has to be pretty fast and also it will be repeated several times throughout the film and he thinks it won't work because it's always the same shot. The Scriptwriter suggests a zoom-out from macro to medium close-up. What do you think? Will this work technically and also artistically? Thanks in advance for your replies Jonas
  15. In the July 08 Issue of the AC, I read that when he does handheld work, his gaffer would grab a small softbox and walk to the side of wally, just to give the actor an eyelight.
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