David C Weldon Jr

Still for sale?

Thank you for your input, very helpful stuff. I have an online presence (website, business social media, twitter really) but the ideas of IMDb Pro and contacting different companies in town, as well as UPMs hadn't jumped to mind yet. I had done all that where I worked in Pittsburgh, so that should be second nature! Bigger market here obviously, lots of opportunity. I've been trying to hunt down new places to search (like production hub, media-match), just found out about mandy.com, there seems to be a lot on that one. I'm trying to hit the low-pay/no-pay market as well when it comes to trying to DP short films, even student films. If I can pull together the right resources and the people I've met since I arrived, I know I can build a team that will make the projects thrive. Thanks again for the thoughts and the support!

I really liked the color contrast that came out of the GH2, I was shocked how many people picked that camera. I do believe that there was a good point toward the end that the DPs who had the "lower-end" cameras (so to speak) did a better job lighting and finding ways to get the most of their camera. Whereas the DPs with the Alexa, RED and F65 may have missed on a few points because they were already working with the "best" camera. I do love the Alexa, I felt the image didn't pop as much in it's color contrast, but it had a great filmic feel. I didn't like the F65 at all, when the revealed that the highlights came out Pink and they attempted to time them back to white, it ended up giving the entire frame a magenta feel. I wish that the new Canon 1DC had been included in the test, I would love to see it go up against the large format cameras and see where it falls in line. Absolutely loved Zacuto's presentation this year in the layout of this being a documentary. Part 1 was so inspiring!

Hello, Thank you first off everyone for your time in putting this site together and populating it with information. I hope to be able to help and give advice to different topics as time permits. I just move to Los Angeles from Pittsburgh, PA where I was a Camera Op/AC working on Commercials, Corporate and Sports. I was also a Producer for a television show for 2 years, prior to taking the full step to Camera Op/AC. It was the right time for me to move and the right opportunity presented itself. I'm currently working as an intern for an ASC member. I don't see it as a step down in my career, I felt it was a good way to make connections and continue to learn. I'm mostly in his rental house and will begin to get on set starting in the coming week (it just so happens that he has some work coming up). I've only been here a month and only committed to his internship for 3 months. I'm also learning the requirements of having a number of hours of non-union work prior to joining the 600. And once joining the 600, getting on a Producer's roster. I want to work and grow to a level of a Cinematographer, but I'm not willing to get ahead of myself, my strengths are in the Camera Department as an Operator and an AC. Could anyone offer any advice on good places to look for non-union work, hopefully a good place to look for paid work. What are some good ways to get in touch with other Directors/DPs to get on their crew, even as a Camera PA, to gain their trust on their commercial productions? Thanks for your advice and I look forward to reading more on the forum!

Hello, Thank you first off everyone for your time in putting this site together and populating it with information. I hope to be able to help and give advice to different topics as time permits. I just move to Los Angeles from Pittsburgh, PA where I was a Camera Op/AC working on Commercials, Corporate and Sports. I was also a Producer for a television show for 2 years, prior to taking the full step to Camera Op/AC. It was the right time for me to move and the right opportunity presented itself. I'm currently working as an intern for an ASC member. I don't see it as a step down in my career, I felt it was a good way to make connections and continue to learn. I'm mostly in his rental house and will begin to get on set starting in the coming week (it just so happens that he has some work coming up). I've only been here a month and only committed to his internship for 3 months. I'm also learning the requirements of having a number of hours of non-union work prior to joining the 600. And once joining the 600, getting on a Producer's roster. I want to work and grow to a level of a Cinematographer, but I'm not willing to get ahead of myself, my strengths are in the Camera Department as an Operator and an AC. Could anyone offer any advice on good places to look for non-union work, hopefully a good place to look for paid work. What are some good ways to get in touch with other Directors/DPs to get on their crew, even as a Camera PA, to gain their trust on their commercial productions? Thanks for your advice and I look forward to reading more on the forum!

How large is the viewing space you will have in your shot? If you need something wide at least once, I would get a 20x20 sheet of white, put it in a frame and support it vertically. You can obviously go smaller in size. I wouldn't green screen it, that may give you a harsh edge on your subjects in frame. As long as your subjects are lit the way you like, play with the background by bringing in the light, I personally like using Kino Flo lights to hit a backdrop like that, as well as maybe a pair of 5Ks (from above and the sides) and if you want it to be infinite, just make sure it is even. Also make sure your subjects are between 10-12 feet (sometimes even further depending on the punch of your key light) away from the backdrop, in order to make sure you don't create shadows.