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Matt Rozier

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Everything posted by Matt Rozier

  1. This may seem pretty basic but I’ve never actually tried it. When using a macro lens - say a 100mm for example on full frame - would the frame just be too bouncy with a camera on a doorway dolly? I’m guessing the answer is yes, but I just want to be sure 🙂 I imagine a slider may be more successful, but is a macro on a doorway dolly possible? Would it be possible on the wheels (ie. Not on track?). Anyone tried this and failed/succeeded?
  2. I’ve already actually got a 500w forza. But it’s daylight only. The aputure 200x might be another point of call too.
  3. Phil that’s exactly what I need. It’s been a real head scratcher - I def know I’ll be giving up a bit of level, I suppose I’m just trying to figure out how much I’d be sacrificing in terms of level in order to gain a lot more in terms of flexibility. There’s definitely more powerful led units out there - just that one seems to tick a fair few boxes so gives me a little more bang for the buck. But I’m glad I asked for help as I’d still be scratching head and no closer to an answer lol. Thanks so much for your help- really appreciated!
  4. Hi everyone, I’ve been using a 1000w tungsten bulb in a chimera pancake for a while - but I’m finding the noise issue when dimming is becoming more of a problem and the need for a daylight option starting to mount. I’m wondering what Led would be a good replacement and can’t figure out how much power I need? On my 1k bare bulb I’m getting around 200 fc or at 1m - so a light that gives off around 2000 Lux @ 1m might do the job, not too difficult thing to find. But I’m thinking, LED is quite directional, whereas a triolet bulb is shooting out light everywhere. Is there anyway I can calculate an equivalency so I can find something that might be a rough match? It may be that the more experienced of you out there might have a better idea? Im wondering if I can replace the tungsten bulb with something like a Godox sz150r which has a 120 degree beam angle and around 4500 Lux bare bulb @ 1m. That’d just give me a lot more flexibility. Any advice?
  5. Thanks all, Thanks for your thoughts all - yeah it’s the moving side b cam I’m talking about robin - I love that aesthetic. Its exactly these sorts of shots I think give the kinds of kinetic energy I’m looking for. Im not looking to mix slider with static, I’m just wondering really if people have had success mixing a handheld cu cam (perhaps shooting from a variety of angles - moving between questions) with a static mid shot - sometimes I’m working solo - so having two handheld cameras isn’t always possible. If you’ve seen any examples which work great - or even better examples which don’t work so great - it’d be good to see. Great to analyse this stuff to see if there’s any situations where cuts work fine and maybe struggle a little.
  6. Yeah it's an interesting one, I think I'm always worried that going from a nice organic handheld roving CU to a static mid or wide might feel clunky, but I'd love to see some examples which cut together really well.
  7. Just wondering how you guys n girls have gotten on with interview situations where there’s both a fixed camera and a moving camera - have you made or seen many situations where you think this has cut well together? If so, would you care to share a link? Or do you find that there’s an energy drop when cutting to the static cam? It’s something I’ve thought about a lot and I’m just wondering whether anyone has had similar thoughts or advice. I tend to keep things consistent where poss (ie move both cameras or keep both cams static) but it’d be great to hear how you’ve mixed it up and to see how it’s worked.
  8. How about a mirror? If you mount a large Perspex mirror to a goalpost rig, you can angle it to get the exact shot you need. Plus from the ground you’ll have much more control over the cam. Not sure if it’ll work with what you need, but just a suggestion.
  9. Thanks Phil ! That's all really useful info !! Wow 1350W of LED power is huge ! You should market it ! The Photon Beard is a really interesting option too - I wasn't aware of that, so I'll check it out :-) Thanks again Phil - really appreciate your help :-)
  10. Hi Phil ! Man that advice is golddust, I'm in High Wycombe, so just on the outskirts of London. And I'm having exactly the problem you state with renting. Oftentimes I'm just renting one or two things - so it can get quite complicated with drop off and pick up times etc. I've got a few lights (tungsten and LEDs) which I get by on in most situations, but every so often I need something with a bit more juice. I was looking at the Chinese 1.2k HMIs and the Chinese M18 knock offs. I'd mainly be using it as an exterior source but I also do a lot of music stuff too and it'd be handy to be able to use it through diff etc, so a noisy bulb might become a problem. Tricky. The magnetic ballast is handily quieter. And if I can get 50p out of it when needed then it'd probably do the job. But a Chinese m18 would give me a fair bit more fire power when I need it. LEDs are great and they're certainly getting there, but they're not quite there yet in terms of the amount of power I need - pushing light through windows etc.
  11. Thanks Phil! So you found that when you shot 100fps there was def flicker? I'm just weighing up the options of buying an older but western made HMI with a magnetic ballast or a Chinese copy with an electric ballast. I only really tend to shoot at 25 and 50fps and am based in the UK, so no need for unusual frame rates but I've just heard that I may get flicker at 50p. It sounds like I may be safer going the chinese copy route. Renting is fine, but there's periods on lower budget stuff where that isn't always possible and buying a genuine arri with electric ballast is out of my price range :-(
  12. Hey everyone, I'm wondering if I were to use a 1.2k HMI with a magnetic ballast in the UK on wall power (50hz) - if keeping my shutter angle at 180, will I get flicker at 50fps or 100fps or is it only likely to happen when I move off these frame rates? I know magnetic ballasts can be a little more finicky for flicker.
  13. Letus Helix 3 Axis Gimbal for sale - £1100 - more pictures can be seen on ebay link - https://www.ebay.co.uk/itm/142935758057?ul_noapp=true Gimbal is in good condition - selling purely down to lack of use. Comes with the following Letus 3 axis gimbal - original alumnium Three batteries Two chargers Helix custom carry case (very similar to a pelicase) Helix Heavy duty camera plate - perfect for larger cameras - reds/alexas/sony/blackmagic ursa minis etc Deloitte mount - so handy for mounting to tripods or other fixed mounts. Helix 4th Axis Bracket - this makes it possible to mount the helix onto a steadicam arm or easyrig setup for taking out any up and down movement on the 4th axis 4th Axis bearing kit Helix 4th Axis spacer - this is great for mounting the gimbal on a steadicam arm to take out any bounce - I'm also selling the steadicam and arm that fits this - so let me know if you're interested in buying that too (£450) Helix Top Handle - really handy for using it with an easyrig setup D-tap to 2 pin cable Helix 2 pin to D-tap splitter Thumb controller A custom made Helix to Alexa minipower cable A Helix to 6 pin Red power cable This all weighs around 15kg and would need to insured, so although I can definitely post it may be cheaper if you can collect or alternatively I work in London and around the UK a lot so it might be possible to meet you somewhere to drop it off. Any questions just let me know matt@mattrozier.com
  14. David it's brilliant to get your advice on that - absolutely love that shot ! (and actually so much of your approach in that film) lovely stuff.
  15. Hi guys n girls, I've a shoot coming up where I'm looking to create a look similar to these sorts of shots, something that feels very unlit, but with nice soft light, and just wanted to throw it out to the group to see whether there was any great suggestions for how to achieve this kind of look or whether anyone had any thoughts as to pitfalls I should be aware of. We'll be shooting on the Alexa on Cooke Anamorphics, and I'm planning on using plenty of haze (settled so that we're not seeing the movement of it), then using motivated window light (either natural light or HMIs), alongside a bounced HMI - a jokerbug 800 or similar perhaps off the ceiling or wall to give us a small amount of ambient and then bringing in other bounce sources and neg fill for when we get into mids and CUs. I'm not really looking for the light shaft thing with the haze - although I'm not opposed to it - it's more about getting layers in the image. Oh and it'll be the first time I've used Cooke Anamorphics too having only used anamorphic adapters in the past - so if there's any issues you imagine might rear their head it'd be great to know - I know for example that longer focal lengths through haze aren't a good idea because of the compression - but if there's anything else you think it'd be useful to think about it'd be great to hear ! :-) I'm guessing it's best to expose a little higher than we're intended to finish and to bring it down in the grade rather than in camera so that there's less noise (and flexibility if the client decides that we need to see more detail)? I just love the hive mind here and would welcome any thoughts, suggestions or advice. Huge thanks in advance.
  16. Hi JD thanks for your reply :-) - I'm just wondering if I need more juice when I'm shooting in a 3200 environment. I think the large pancake can take an 800 joker? (can it take any other HMI fixtures that you know of?) which is equivalent to maybe 4k of tungsten light? Which is great in a 5600 environment. But once I gelled it down for 3200 I'd lose half of that - so i'd be looking at being back at around 2k of tungsten light. Then once it goes through the chimera fabric I'd be losing some more. I'm just wondering if I could get more kick out of it - instead of introducing a second chimera (which would widen the footprint of the source) whether it's possible to up the intensity of the light by using the face as a bounce source too (by bouncing something like a source 4 off it)? know this is a really weird question, I've never tried it or heard people doing it, but I just wondered if it was possible? Let me know if I'm calculating stuff wrong too :-) Obviously I can move the chimera in closer too to increase the intensity and softness but I'm just curious as to whether a softbox can be shone through and bounced off at the same time and whether there's much benefit to that. I know, very weird question lol
  17. Hi everyone, I've not seen this question come up, but just wondering if this may work? I'm going to be shooting in a situation where I'd be looking to use a single jemball or chimera pancake - which obviously has a limitation to the amount of light that it can put out. If I needed to raise the level of the ball, if I pointed a source 4 at it, would there be any reason why that wouldn't work? I'm wondering whether you'd get keep diffuse light from the actual bulb as well as get the bounced light from the source 4 (a source 4 as the spill is more controllable?). Any thoughts why in a pinch this wouldn't work?
  18. Thanks Mark ! Good call on the s16 mode - any particular s16 superzoom you'd recommend? I think they're pretty set on shooting on the Alexa mini - lots of complicated reasons, it's being used double duty for another back to back shoot etc. plus this video has two very different looks - but we've a few days of prep before the shoot (I'm flying in from the UK) so perhaps I can ask a rental house if they'd mind us shooting a couple of tests at their base and we could take it from there. Thanks for those suggestions Mark - really appreciate your reply! :-) Matt
  19. Hi David ! (you're an absolute legend!) Thanks for your reply - yep you're right, that example is a very recent video - it was just sent to me as something that the director liked the look of. I've not used nets before, but perhaps it's something I should explore more - do you think something like Glimmerglass could get me close? or is netting really the only way? My main concern is inconsistency in the tension of the net giving me looks which don't cut easily - or am I worrying about that for no reason? I'll definitely test the filters on the long and short end - thanks for the heads up - duly noted :-) And huge thanks again for the advice on the haze. Do you think I'm on the right track with the 24-290 or would you suggest something else? On the vintage thing, the concept originally came from 70s/80s videos like this... So originally we were talking about shooting on VHS or something to imitate the look. That's now fallen by the way-side due to other restrictions. I was thinking there could be a vintage zoom that I'm not aware of that'd work well - just to take the edge of the sharpness/contrast and to give me various lens imperfections etc. which could be useful. But I'm thinking at the moment that the 24-290 gives me a range I may need for those big zooms, and we'll perhaps use filtering/lighting/grade/production design to get us closer to those examples. Tricky.
  20. I'm due to be flying out to shoot a music vid in the next few weeks on the Arri Alexa Mini - I thought I'd pick the community brain to see if anyone has any great suggestions for lens choices to achieve the following kind of look.... https://www.youtube.com/watch?v=7gtdpnKbT10 We've had to rule out the option of shooting VHS/film/TV cameras etc. So I've got to get as close as I can using the right sort of lens and filters (plus there'll be haze too which'll help) - we'll be hiring in LA, so if anyone suggest a particular vintage lens that's hard to get hold of then it'd be great to know if you know of a local rental house that may stock it? The main things we're looking to achieve are - As close to the look as possible using lens/filters/haze/grade - The ability to zoom mid shot, all adding to that retro effect, so ideally something with a large zoom range and ideally parfocal. At the moment I'm thinking an Angenieux 24-290 purely because of the range - I know she's a beast but I'll be on sticks the whole time. Plus something like a Glimmerglass 1/2 or 1 or possibly even a Hollywood Star filter to really make those light sources pop. I've not used nets before, so I'm a bit hesitant to experiment too much on the job so ideally glass suggestion if possible :-) Are there any watchouts I should be aware of? I've learnt a huge amount from you guys so it'd be really great to get the forums advice and ideas :-) Huge thanks in advance, Matt.
  21. Hi I've a shoot coming up in an environment with a high ambient level - indirect sunlight in a large white room- lots of windows - lots of daylight - but nothing too direct (windows are north facing etc) so handy in a lot of ways. However, I'm just wondering what you guys may suggest for sculpting the light a little more? HMIs are out of the client budget so I'm thinking of sculpting with the natural light as much as possible using reflectors, diffusion and negative fill. I've got a couple of kino style fixtures, but the fall off on these won't help me much in the wides and mids I imagine though I may get some use out of them in CUs. My other fixtures, LEDs won't have the power. I've a tungsten 650 fresnel but I'm not sure about introducing a hard tungsten light into the mix unless perhaps a backlight if I ctb this baby up will it still have the necessary power to be useful? Any other suggestions? It's not a problem having all the ambient as it's a fairly upbeat talking heads style shoot, but I just wanted to have a little more control over the environment, and it's always handy hearing what others would do - great way to learn :). Knocking out the ambient to have complete control over the light levels - as I know that sunlight temps and levels will be constantly changing won't be something we'll do too much of though I've done it a lot in the past. Changing light levels won't be much of an issue as although the shoot is full day the interviews are short and don't need to look the same.
  22. Thanks Adrian, Really appreciate your advice - thanks guys ! :-)
  23. Thanks guys ! Adrian do you think that'll give me a shot that's too moody? I love the look of the fall off into darkness, but I think for this one they want it to be quite light as it's a comedy. Natural is a word that's being kicked around a lot. It's a great shout on the space light, I'd just be concerned that the top down look might feel a bit too moody, what do you think?
  24. I know it may seem strange but on a few occasions I've found that by getting the interviewee to tilt their glasses every so slightly forward - so lifting them slightly off their ears a touch - helps a great deal, as it just alters the angle of the light bouncing off the glass. If you find the glasses slipping back again wrapping the area where they meet the ear in something like tape can help make them tilt forward and keep them in place. Obviously that all depends on the light source/direction too though, but in some select situations a simple quick fix like that can work wonders. If not, the clam shell suggestion is a good one too.
  25. Hey everyone, I'm going to be shooting some stuff that may involve large circles of ten or so people (think AA anonymous meetings) and I'm just wondering whether anyone has any interesting approaches as to how I could tackle it. Obviously it depends on a whole host of unknowns as I've not recce'd the location we're using yet, but just wondering whether anyone may have lit a similar scene recently and found any tips that could be useful or pitfalls I should be aware of. We're going for a very natural look - so soft and optimistic rather than hard light and moody - which is what concerns me slightly about top down lights. The tricky thing will be that we may need to move quickly too. I've spent a lot of time lighting single directions and two shots closeups - but not spent a lot of time lighting 'in the round'. My first thought was to try and maybe rig some china lanterns etc from the ceiling, but that could prove tricky, so then I was thinking about either a few kino flos which will be easy to cheat and move around or getting a large sheets to shine through to give me a nice super soft source- if so any recommendations on light and material? How do we all stand on shining kinos through large 4x4s etc? Would I feel much benefit as the kinos are already soft? I know it's a tricky one as so many unknowns, but just thought I'd learn from some collective wisdom before jumping in :-) CU's will be much easier, but those wides are trickier.
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