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Jorge Alarcon Swaby

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Everything posted by Jorge Alarcon Swaby

  1. As an operator, I usually don't pick up the camera from the First AC until we are about to roll, and I always hand it off back to him as soon as they yell cut. On other shots when I'm DP/Operator, I always have the AC place the camera on sticks with a frame of the shots to help with lighting and blocking.
  2. Like David said, your low-key lighting doesn't necessarily mean low level lighting. But I'm assuming you won't have access to big lights or much of budget for this. Maybe I'm wrong but I'll make that assumption. Looking at your design, the first thing I would do is separate the table and the actors from the background (hopefully you have the space to do so). By doing that, you will give your shot more depth and also have the space to add practical lights in the back. Also think about adding some practical lights on the table itself, for example candles or if there is an actual dinning room chandler, then thats even better. Make sure you use dimmers or lower wattage bulbs so the lights match in terms of light output and some are not overexposed. Afterwards take a look at your wide shot with all the practicals on, and from there start adding lights as you feel is necessary. I would also recommend that you stay on long lenses when you shot the individually coverage of each subject, I would say 50mm or above, preferably 85mm. Of course only if you have the space available to do so.
  3. Anything over 85mm gets really complicated when it comes to handheld, specially on all these cameras with crop factors. Even on full frame cameras I like to stay at 50mm and below. I recommend shooting a bit wider and make sure it's stable, then crop it a bit in post.
  4. Invest in a good 1st AC an save yourself all the hassle and headaches. He can and more than likely will save this shot for you
  5. "Whores Glory" is a amazingly shot, it was filmed on 35MM
  6. Hey Guys, I have a quick question, I'm looking to join the union down the line as as 1st AC or Camera Operator. Tricky part is, I have more paid days as DP than both AC and Camera Operator. Here is the scenario, I had a full time job working for an official documentary company financed by the city of los angeles for over two years. All my paper work for those two years at the company say my title was "Cinematographer" and I worked in over 15 documentary as the DP, and of course all of the days were paid (over $100/day as well) In total, I have well over 200 days as DP paid job on documentaries, and all they pay stubs to prove it as well. So my question is, in that case, will I be eligible to join the union as DP then? Now, If I am, I wouldn't attempt to join or even do so, because lets be real, I won't get any jobs as DP on union stuff nor do I think i have the experience to do so. (unless its documentary of course). I'm racking up Camera Op paid days and thats eventually what I would like to join as. But i'd just want to know if you guys think I would actually be eligible if showed up with all that official paper work of paid DP days from an official company?
  7. Hey Guys, I have a quick question, I'm looking to join the union down the line as as 1st AC or Camera Operator. Tricky part is, I have more paid days as DP than both AC and Camera Operator. Here is the scenario, I had a full time job working for an official documentary company financed by the city of los angeles for over two years. All my paper work for those two years at the company say my title was "Cinematographer" and I worked in over 15 documentary as the DP, and of course all of the days were paid (over $100/day as well) In total, I have well over 200 days as DP paid job on documentaries, and all they pay stubs to prove it as well. So my question is, in that case, will I be eligible to join the union as DP then? Now, If I am, I wouldn't attempt to join or even do so, because lets be real, I won't get any jobs as DP on union stuff nor do I think i have the experience to do so. (unless its documentary of course). I'm racking up Camera Op paid days and thats eventually what I would like to join as. But i'd just want to know if you guys think I would actually be eligible if showed up with all that official paper work of paid DP days from an official company?
  8. Hard work and doing a lot if free work at first
  9. You should check out Tom Antos on youtube, he has amazing step by step tutorials on lighting music videos. Here is his channel. http://www.youtube.com/user/polcan99 Good Luck, Hope that helps.
  10. Grab yourself a couple of LED lights and place them where you think they will fit. Now remember, when driving, cars are always dark, so a light source if to obvious will catch people's attention but for the wrong reason. Your best bet is the find a street with a lot of lights already there and film it there. Try to make it as natural as possible, base the scene around traffic lights, near sidewalks with Pharmacy's or big neon lights around them. If you are filming with the Mark 2, don't push the ISO to high, the grain will kill you. Those Cameras are great for low light but in order to achieve great stuff from them in low light, they need a hand. Most people just bump up the ISO and call it a day, don't be that guy. Good, luck. Hope that helps.
  11. You can make the entire room dark, use a Chimera Jim Ball over them, place two white boards on the floor on each side of the desk to bounce a bit from the Chimera and give them a little big of fill. (Or you can use Kino's of coures if they are available). Then you can also add and adjust some candles in the background to give a more romantic feel. Hope that helps.
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