Kenny Keeler

Nice work Mark congrats on the award! This looks great! Im curious to pick your brain more on your exposure process. You mentioned with the car int. and backlit exteriors you split the exposure down the middle. are you saying you took a reading of the interior of the car and then a reading of the exterior of the car and set your lens in the middle of both of those? Were you trying to keep yourself at a specific stop? Example trying to always keep your self around a 2.8 or 4? Thanks for the advice! Im with everyone else would love to see a trailer or the whole short to see it in motion. Keep up the great work!

Hey Adam, Nice work! I really like the grade you did. I was in the same boat wondering what was best, one light or log and this really helped. I recently shot a test roll on Kodak 7207 250D and had it scanned in 2k log. Im pretty sure I under exposed by a stop or so as my footage was fairly grainy. Im curious about your grading process and what you did to the image. Ive never graded film before and currently just playing around with the footage it looks just meh. Saturation seems low and when I bring it up skin tones seem off Im sure a lot of this is because of my exposure. You mentioned you didnt mess with your saturation. Did you just mess with your curve in resolve? Or did you do it with Lift Gamma and Gain? Lastly you shot 7219 500T which looks great and doesnt look like its very grainy did you over expose and pull procees a stop or just rate it a 500asa and shoot normal? When you shot in daylight did you just shoot without a correction filter and correct it in resolve or did you put an 85b correction filter on the camera? Thanks for the advice in advance.

Hey all, I have done some greenscreen work in the past but have a question regarding color temp. Im shooting an interview pick up the backplate is a day light exterior scene. I did not shoot the backplate and dont have much info other then I know the plate was obviously balanced to day light. The green screen stage Im shooting on is pre lit with image 80s with tungsten bulbs. For lighting a situation like in the past my normal go to would be balance my camera to 5600k and key Light my talent with daylight and light my greenscreen with daylight balanced lights as well. However in this situation I cant change the greenscreen lights which are tungsten. My question can I balance the camera to 3200 and light the subject with tungsten units and will this sell and match my daylight backplate? Theoretically as long as everything is balanced I should be good correct? Or can I leave my greenscreen tungsten and balance my camera to 5600k and light my talent at 5600k and still be safe with the greenscreen? I know this will throw my greenscreen out of balance and have a heavy blue cast. My gut tells me to balance everything to tungsten and I should be fine. Thoughts? Thanks in advance for all the input!

Hey all, I wanted to start a discussion about Sekonics new L-858D meter with the spot meter. Has anyone used this and if so how do you like it. I have the Sekonic L-478D and love it but want to switch for the 858D. My biggest curiosity is with spot meter. in the specs it says it has 1 degree spot meter. Sekonics older L-758 has 1 degree 5 degree and 10 degree capability. Say I want my background at a certain level for this example I will say 2 stops under key. If I use the L 858D which gives me a 1 degree spot reading how small of an area is this measure? I know it is probably based on the distance from the subject I am trying to measure. my question with 1 degree is this a valid spot meter that can get me through most situations spot metering walls, green screens, windows etc. Also curious of examples of when the 5 degree and 10 degree come in handy. Thanks! Sekonic L-858D Sekonic L-758Cine

Sorry if this is not posted in the right category. I want to hook my small hd 702 monitor to my mac laptop. Has anybody done this? Can you do this via HDMI? Or do I need something like a Blackmagic Design Micro Converter SDI to HDMI? I know this is a random question but figured someone on here has tried it. Thanks!

Ya looking at it more it could very well be a Lite Panel haha. What threw me off was what looks like a ballast on the back but I guess it could be a battery as well just not sure why they would have it plugged in via house power and have a battery. Thanks for the info guys. Was just curious all ways love learned about new lights and I know there are a ton of companies out there making new LED lights.

Does anybody know what lights they are using? It looks like some sort of LED but is not a light panel. This is from the behind the scenes of the movie Don't Breathe.

Thanks Jack so by doing this it will stabilize the image but wont float with my pans? Does this lock the pan aspect of it? Thanks for the help!

I have a question, I have a long one shot coming up with whip pans. We will be renting a Ronin or Movi. Probably should have gotten a steadicam but with our budget the ronin is our best option. In the past when using the Ronin when I would pan it compensates for my movement panning. In our long shot we have alot of whip pans. Does anybody know if you can set the Ronin or Movi to lock the pan? So I can just use it more so to stabilize my movements walking and running? Is it possible to set it up using the 2nd operator mode but no one operates the pan or tilt? Sorry I have only used the movi like 3 times before this so please any knowledge is helpful. I just remember when using it in the past I would pan left or right and it would some what try to compensate for my movements?

JD thats a good idea. I bet you can call them and get an answer no problem. But if you can, if it were me I would try to light with larger tungsten units to just eliminate the possibility of flicker. I understand you may not have it in the budget or you already have the Arrimax. I am curious what you find out about the Arrimax i cant find anything online about info over 1000fps

I completely agree with you there! I know even my self I am not ready for an agent. Correct me if im wrong but with DP's I feel like hearing the term agent means to some that you have made it sadly im even guilty of this thought from time to time. So I think because of that people think thats there next step. I know guys who work a lot on great projects and don't have an agent and I also know friends that have the opposite. Richard I will say I wish negotiating was as easy as you make out to be when you are hiring. Coming out with your max rate sounds straight and to the point but I have yet come across that when being hired. Its always been a lower rate I negotiate up some easier than others. I agree with you that there are a ton of games played in this industry and I wish money was not one of them. I will say take the agency question out of it you brought up some good info and insight about the producing side and hiring crew.

I thought everyone had agents now a days Richard.....? Your title says director so I went by that. Thanks for your advice on agencies. Wish you the best.

Do you have an agent Richard and if so as a Director why do you? I feel you have a negative opinion toward the agency topic so im curious.

Richard I agree with you in the sense that certain aspects get taken to far haha and that certain crew shouldn't have agents. I do not think an AC should be getting a limo ride to work, nor a DP if production offers those things fine. but If your getting an agent to get lobster lunch and limos your in it for the wrong reasons. I however feel agents do have there place where needed. Like David mentions talking about money and having someone who knows what is or is not fair in terms of rate etc is a valuable tool.

It can help with your speed on set as well. then you don't have to change a lens on your camera back and forth.. Also over time it will help you know what a 50mm can give you or an 85mm etc.