Micah Fernandez

Nothing specific comes to mind, but most likely it would be something from The Constant Gardener.

Hahahah. If this was a joke, I laughed. :) If not, please, no matter how busy you are, take the time to actually read the post or don't reply at all. To the thread starter, I hope you can get clips or screen grabs up ASAP. :) Sounds like it was a great shoot.

I know. I wasn't comparing, just making a comment. :)

Where I live (the Philippines), it's quite common for indie features to go for less than $30,000. In capable hands, 200k could go really far.

A good skill to have is learning how to use your eye. The meter is useful in the beginning, but as you progress you should be needing it less and less. There really isn't any 'silver bullet' approach to lighting. If you ask 5 different DPs advice on how to light a scene, you'd likely get 5 different answers. What is important is what the story requires and what you as a person believe to be characteristic of what you see in your viewfinder, both of which will influence your vision of how the scene must be lit. From there, it'll be a more fluid process manipulating whatever lighting equipment you have available to match the picture in your head. If you understand the principles of light and the camera, you shouldn't have too much trouble.

What about directors who think they know what they want, but can't quite interpret it lucidly? Not to toot my own horn, but in all the short films I've shot, I've had a better grasp on visual communication than the director. Usually I'd be asked to set up a shot that doesn't quite match, whether related to the composition, focal length or camera angle, with what the director says he/she wants. In the past, I've let it go, keeping in mind that it is, after all, their movie. But lately I've been questioning whether I should be more active in protecting not only my images, but the director's vision, as hazy as it is. Would I be out of line if I suggested a different shot from where the director spikes the camera?

Why are we thinking for you?

Wow! Any chance you'd tell us what the project's for?

Very nice! Did you shoot in film or video?

There's no story, but it was okay as a cinematographic exercise.

I have keratoconus, which manifests itself in the form of very high astigmatism. RGP contact lenses are the perfect solution for my problem. I may or may not require a corneal graft one day.

On #3 I meant eyes not faces, sorry. :) The lights I have are way too large.

Hi everyone. I have a few relatively easy questions; hopefully you guys can help me out. :) I'm working on a project now that is set mostly in an advertising agency office. 1. I want kinoflos, but there isn't enough money to rent any lights. I was advised to build instead to cut costs, but I wouldn't know how to go about it. Does anyone have sort of a blueprint for homemade kinos? 2. Same thing, but for Chinese lanterns. 3. I have a bit of trouble lighting faces with the limited resources I have. Can anyone give me tips for going about this cheaply and effectively? Something a little more practical and flexible than reflectors. 4. Any tips on how to achieve the glossy magazine feel would also be appreciated. I'll be using either a DVX100A, XL2 or XL1 (last resort camera)

No. With experience, you will be able to approximate how a shot will come out on the final print but while you are still unsure, use a light meter and a contrast ring (bare minimum) to help facilitate your creative decisions. Don't trust the video assist either (a common mistake). The assist is only for the director's benefit of being able to watch the action unfold.

If I'm not mistaken, multiple cameras are the exception, not the norm. The only times more than one camera should be needed is for action sequences with extremely complicated blocking or if the entire setup can be only shot once. As someone above me said, the lighting is compromised and even the blocking is limited by multiple camera setups.

A couple of years ago I was diagnosed with keratoconus, which is basically the thinning of the cornea due to an abnormally cone-shaped cataract. I'm required to wear RGB contact lenses to correct the crazy astigmatism that comes with the disease. One day I might need to get a corneal graft when contact lenses won't be able to correct my vision to 20/20 anymore. So I was wondering if there are any industry people or even just people from this board who suffer from vision problems like I do. I apologize in advance, this thread IS sort of a "please pick me up". I want to know if I'm alone or not.

Is this the general rule/sentiment? I thought I was just being lazy and taking the easy way out by shutting up and setting up in silence.

Won't the 'bad' shots reflect on us though? I'm worried because I've been involved in a tragically unprepared Indian short, and though I tried my best to make each frame to look as best as I could (even to the point of overstepping my role into the unhelpful production designer's) a lot of the shots would not pass my approval if I were directing. Chain stories are usually done online. A chain movie sounds like an interesting idea.

It actually isn't a Mercedes ad. The concept isn't even final yet so I am trying to get my bearings concerning what blown up DV/HDV can or cannot do, so obviously most of these questions are trite and insufferable ;) 35mm is out of the question for the budget allocated, and 16mm is extremely problematic to process in my country.

I did bring that up. However these two cameras are the only ones immediately available. The concept isn't final yet, so I'm doing as much research as I can. I take it then the XL2 would be less appropriate for a sleek, glossy look like say, a Mercedes Benz ad?

Thanks for the useful tips David. It's great to have someone as generous as you in this community. Another question: what about an XL2? What are the characteristics of its image quality vis-a-vis the FX1's when blown up to 35 mm?

An FX1 will be used, for a commercial that is to be shown in a movie theater. I'm not certain what format as I won't be calling the shots. Will it matter drastically?

Personally, I'd start him off on a still camera. Learning how to tell a story or conflict in a single frozen frame is great grounding for him. I'd also buy him a lot of classic books and movies. Nowadays we've got way too many movies with flashy visuals and absolutely no story to speak of. An art class would also not be amiss.

And what are important pitfalls to watch out for? Thanks to all who help :)

The easiest (and most sincere) place to start with in formulating story ideas is with yourself. What interests you, what is important to you, what experiences in life do you find funny/tragic/scary, who do you find fascinating....those questions should guide you in choosing material to shoot. Once you've found something, think again what in particular (it has to be very specific, or else your project will end up trying to be too many things and failing at all) do you want to write about it. For instance, if you chose the current "War on Terror", will you tell the story from the Iraqi or American side? If on the American side, from a politician's or soldier's point of view? If a soldiers, a commanding officer or a grunt infantryman? If from a grunt, ask yourself again what makes him so special to have you point a camera at him and magnify his experience twentyfold for an audience to see? What is his conflict? That's the question you, as a writer and a director, should always be aiming to answer. Keep in mind however, that conflict is different from problem, in the sense that it must feature two active forces in that person's situation that threaten to tear him apart if he does not choose one path. Your story for instance, while nice and simple, does not feature a conflict, only a problem. Sorry for going off into an essay like that, and being quite abstract about it ;) but I believe firmly that the selection of your material is inseparable with your reasons for doing so. Don't worry, stories are numerous and as abundant as the uniqueness of human experiences. :) I hope that helped someone somehow.