Tyler Clark

Thinking of buying some. What is your experience with these lights? How do they compare to other LED fresnels you've used?

and if so what do you look for? It sounds stupid but I do find it hard to sift through my own raw footage for review though I never feel like some editors chose the best takes to use.

Dont believe that was me Dave, im not on REDuser (unfortunately considering I never have budgets for RED). I do appreciate the advice and tips everyone!

What is a better practice when looking for an underexposed look? (Thinking fincher, social network, dragon tattoo, etc.) I work with the c300 and fs7 alot using Clog and Slog3. Underexposing in camera on the C300 results in alot of muddiness and on the fs7 alot of noise. The 5D on the other hand seems to handle it well a stop or two under and Ive seen tests with the RED EPIC that 2 -3 stops under works quite nicely. is it on a per camera basis?

Can anyone give tips on shooting metal objects and black plastic objects? Any tips on evoking specular patterns in the metal would be awesome as well!

Images can be seen at link below. https://drive.google.com/folderview?id=0B3VnPaGt2w_5eDhpQmdUaGp6aDg&usp=sharing This link will work sorry about that.

Did some test shots for an upcoming food shoot. I didn't have access to vegetables that we'd be shooting so I set up a set around some K-cups we had around the office and tried to coordinate the colors to match. Test Stills can be seen below. https://drive.google.com/open?id=0B3VnPaGt2w_5eDhpQmdUaGp6aDg What would make the lighting, placement and color schemes better?

What is a better practice when looking for an underexposed look? (Thinking fincher, social network, dragon tattoo, etc.) I work with the c300 and fs7 alot using Clog and Slog3. Underexposing in camera on the C300 results in alot of muddiness and on the fs7 alot of noise. The 5D on the other hand seems to handle it well a stop or two under and Ive seen tests with the RED EPIC that 2 -3 stops under works quite nicely. is it on a per camera basis?

I agree....my employer doesn't. Its in their hands now. Thanks for everyone's help and advice. I very much appreciate it.

Ha. I get it and thanks!

With the little clear information my employer has given me, despite my constant prying, is low budget commercial work and students from a local college. Its weird...I know. I don't expect this to be the next big studio space in the world but I haven't been around studio spaces in my career to know much about them. Everything I've shot and crewed on has been location based. But I was tasked with building this and I like paychecks so Im making it work to the best of mine and this companies capability.

Sarah mentioned this previously but I would recommend the Zacuto Recoil System as well. Having the camera in front of you is great in the beginning (maybe the black magic ergonomics lend to that) which I did myself. I eventually realized how much weight was on my arms all the time, even with a counter weight, and how half way through a full day my shoots got shakier. The Zacuto recoil system puts the lens mount on your shoulder which gives a great balance between camera and lens. The camera itself is your counter weight to the lens. Then you can use a monitor or EVF extended forward to look through and pull focus from the hand grip follow focus. I love this setup as its versatile. If I'm my own focus puller, I can pull without my 7 inch monitor getting in my way. If I have a 1st AC I can have a follow focus mounted for them and have them pull. I can ditch the shoulder pad and operate off the matte box as well with a 1st AC. http://wanderingdp.com/cinematography/shoulder-rig-perfection/ The wandering DP has a great example of using the same principles Zacuto used in their recoil rig but not using zacuto products which is what I've done to a degree. Satsuki nailed it as far as technique and that Sean Bobbitt, BSC Master class is a must watch!

I just did a commercial for an app which required a bunch of whip cuts from symmetrical MS to symmetrical MS. While we used mostly sticks, we used the ronin for a couple shots that required us to cheat going through a floor after whipping in or before whipping out. I was rather surprised with the results. I dialed in majestic mode to a point where it didnt need much force from the operator to pan the camera. The camera recovered quite nicely though it did take some practice. Some shots my AC would actually physically pan the pan axis while I held the top bar to point straight and when he let go the camera would correct itself. While this does put some strain on your motors it gives a faster whip than the operator can perform. Also if you try to go too far with it the Ronin will kill the motor due to experiencing too much torque. Test it for yourself and feel out what resistance and deadband is best for you but I think you can pull it off surprisingly well. Though if you're going for a Birdman type oner, I would still test a steadycam as they can whip much nicer. I didnt have one at my disposal on our shoot because we operated with in house equipment for camera.

What you are looking to do is the most important thing. Do you want to DP? Direct? Cam op? Write? Compose? All of these at once? Those paths will all take you a different way. I see a lot of people saying blackmagic which is great for the DP but what if you want to use that camera to go make a couple hundred on a saturday shooting weddings? You're out of luck. Video cameras I wouldn't recommend because they really dont give a cinematic look without a lot of effort put into it. Small chip is kind of frowned upon. I would recommend the sony a7s and also say focus on youre photography story telling skills. I know it might be a bit more but the a7s can give you a complete look or a very flat cinematic look and is super versatile in what you can do with it. Focus on your photography because if you can tell a creative, unique story using photos it doesnt matter what area of the business you choose that will always be a HUGE help as thats what film is. Telling stories with pictures.

"Gotham" and "Master of None" (Aziz Ansari) have gotten my attention recently. Both beautifully shot, Gotham more so. Gotham has so many great people behind it. Everyone seems to give it their all including their cinematographer who I am amazed can pull off such a consistently beautiful look on such a lengthy series at 22, 40 minute episodes in the first season. Master of None has a very interesting look reminiscent of Louie. Very still life and natural which you don't actually experience too often I feel.

Those are both awesome responses! I am Both amazingly helpful responses! The company I work for just moved us into a former photographer studio space. Our boss wants to turn it into a studio for commercial use/web show use. We have a psych wall, a place for gear storage and set building/construction, and a loading bay, and a surprisingly nice client hangout area with a kitchen attached. What we don't have is sound dampening, a grid, a competent power system, or lights and grip (dedicated to the studio). We unfortunately have 3 sets of surprisingly busy, train tracks 100ft from the loading bay door. We wish to use it for our own companies purposes as well as have it be a worth renting. With all that said what would be the most versatile lighting setup? Is there anything else I should be thinking about?

What are the must haves of a good mid level studio space?

"...what they need from a DP to do their job properly..." This is a great point. A big thing I've had to learn myself has been understanding that while inherently I have expectations of the roles of the crew, they have expectations of the DP equally in order to do their job. Without this you start off on the wrong foot completely and Its hard to regain trust in that situation. What are the expectations of the department heads of a DP specifically? Also does anyone have any stories of looking out for your crew or you being looked out for by a DP?

I truly don't believe that Phil or Aapo is any way condoning any decisions made on the film Midnight Rider. And I do think we all can agree that the DP is responsible for safety, just as much if not more so than the other department heads as he is the bridge between production and below the line. I do see the point Phil made of being difficult in production it can hurt you career wise if you don't negotiate and explain why you can't do something or pose a solution on how to do it safely and effectively to still convey the message. All good points. I want to know why you want to work with a DP again vs a DP you don't much care to work with?

What is everyone's expectations of the DP as a leader? What does it take to be a good leader as a DP?

That would be amazing if you passed it along! I really appreciate all of the info as well, Satsuki! My biggest question being, what swayed the call to have the camera live in gods perspective so much. By that I mean Where did the idea come from and how did he know it would be more effective than another approach? Also What lensing and movement principles did he adhere too when filming And why? Lastly what lighting principles did he adhere too. And if consisted of a lot of 360 lighting, (as it beautifully appeared too and based on what Satsuki mentioned) what calls did he make to accent the arc of each scene and the story at whole through lighting?

What are your favorite low-budget/low-budget-horror looks you've seen recently? I'm doing research to develop a look for a project so any references to great looking things done on the cheap would be great The director originally wanted something very "it follows" like without fully understanding his budget so we're looking to come up with a unique look that can be done low budget with a bit of that style.

Horror

If a space were lit with space lights, would kino flos still hold up in shaping or would you want to go heavier like a diffused joker 400 or 800?

So I have a short narrative piece I will be filming involving a girl in a closed thrift shop late at night where she is tormented by a possessed mannequin. Im having trouble nailing down the perspective I want to take on this. I have parts where I see it working as "Gods Perspective" where the camera moves free of characters. Later it switches predominantly to the girls perspective where her actions lead the camera, then splicing in parts where its from the mannequins perspective looking in on her. My question being, are there guidelines for changing perspective?