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Jeremy Asuncion

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  1. Jeremy Asuncion
    Darn, I really wanted to try that water bottle trick! <_< But Michael, you're right, that wouldn't work for my situation and I gotta find solutions that serve my purpose, not the other way around. And Adrian, that might actually get me what I'm going for. This show will either be 500T pushed one stop or 800 on the Alexa (which all depends on our budget). I think a trio of 25W bulbs will do the trick. I think a combination of those two tricks would get a nice effect. While the china ball can't really get me the dancing effect, it does give me a nice quality of light, especially for these extreme close-ups. As far as the three bulbs go, there will be a couple macro shots on the eyes, so we can totally just use the actual lantern for our eye light. I also forgot to mention, in order to get visible rays of light from above, I'm thinking of hazing up the set a bit... And there will be a master where I can see floor, ceiling, and three walls. The fishing will totally work for almost every other shot, but how can I light a wide shot with such a small source? I feel that the falloff would be too dramatic and I would have to carry it in some other way. Hiding units with set dressing? Swapping the oil lamp with an electrical lamp? Compromise with framing? This is a really challenging setup, but thank you for the comments so far, I'm really excited to make this happen! :D
  2. Jeremy Asuncion
    I'm having a bit of difficulty visualizing how I would light a certain scene. The scene takes place in a bunker, about 6 feet in length, 4 feet in depth, and 3 feet in height—thankfully we will be shooting this on a stage, but I do not know how they plan on constructing this set. There are to sources of light in this scene: 1) An oil lamp practical 2) Ambient light from floorboards above What's troubling me is that technically the lamp is a single-point source (no diffusion in the glass, it is mostly transparent). A couple of ideas that initially came to my mind were using small units on a flicker box. However, I'm really hoping to create a source that dances around, like a flame—I've never really lit anything like this. Recently, I saw a gaffer take a Leko, shoot it about 45 degrees above the subject, and hand hold two crushed/partially filled water bottles. On the same set, they also did a fragmented mirror in a tray of water. Could this work for this kind of practical? And what are some of your favorite tricks for motivated candlelight/fire?
  3. Jeremy Asuncion
    Thanks for the advice, David. While I do want to have some control in the ultimate look in the film, I think it would be best to give post more options when it comes to coloring—and I think in that regard they can have more to work with!
  4. Jeremy Asuncion
    ...I'm getting one right now. Haha!
  5. Jeremy Asuncion
    Gotcha! We will be doing dailies at Fotokem, and hopefully I can get the same colorist that did my 16mm project—however, that was in black and white, so it was mostly exposure that he was fixing. Is this where I could ask for more saturation to compensate for the pull processing? When it comes to in-camera effects, I am curious about using color cards to get a certain color balance—for example, I 2nded for a DP who was shooting 500T. At the top of every magazine, she would have us bump a grey card under tungsten-balanced light... but when we shot the scene, she lit it with mosty HMIs with a lot of ambient fill from outside. On top of that, she had me write on the reports to "print to card." I haven't seen any dailies from the project but I assume that the footage on the cooler side. Do you lose some information when utilizing this process? Or is this similar to non-destructive metadata on a HD camera? (Unfortunately my experience on film has been and will continue to be limited, so thanks in advance for your patience)
  6. Jeremy Asuncion
    Hey everyone, I will be shooting my first show on 35mm film this coming April and I really want to put Kodak 5219 to the test in terms of grain control and contrast. Please bear with me for I've only shot 7222 and 7266. Can anyone tell me the effects that these variables create together in terms of grain, contrast, and saturation? Perhaps how this affects the characteristic curve? 1. Over-exposing and pulling 2. Over-exposing and printing down 3. Under-exposing and pushing 4. Under-exposing and printing up 5. Over-exposing, pulling, and bleach-bypassing My goal is to differentiate between different timelines of the film. Flashbacks are as the director said "dream-like" and he immediately liked my recommendation of having low grain, glooming highlights, and high saturation. Can this be achieved with #5 on the list? I am very open to using glimmer glass or nets on the rear element. I've heard that when skipping the bleach, it is recommended to change a 7:1 ratio to a 3:1 ratio due to the contrast that it brings. This is for my thesis film at my school and I think it is the perfect opportunity to experiment on film! I do not want to be experimenting on set, but I do want to do a camera test at the prep. As always, thank you for taking the time to respond. -Jeremy
  7. Jeremy Asuncion
    Thanks for the help. I'll give them a call as soon as our production gets on its feet! That's a great idea, and I think my 1st would really like having a separate head to dock camera!
  8. Jeremy Asuncion
    Thanks for the advice, Stuart! It's so easy to overlook those sort of opportunities. I'll be operating for a couple DoPs in my semester so hopefully I can find a chance to practice there. :)
  9. Jeremy Asuncion
    Sounds good! Regarding actually gaining experience with the head, where would you recommend I start?
  10. Jeremy Asuncion
    We will be shooting on the Panavision Gold II.
  11. Jeremy Asuncion
    Firstly, thanks for all of the recommendations so far! As with a lot of work in camera, it seems like a Catch-22 when it comes to learning the gearhead. I want to learn the wheels, but I don't want to sacrifice the quality of my work—however, I can't get experience on the head without trying it. What do you guys think? I should also mention that this production is my thesis film for my school.
  12. Jeremy Asuncion
    Hello all, This is my first post to the forum and I'm glad to be here. I am an undergrad cinematography major and I will be shooting my first show on 35mm. Naturally, a gear head will be best for our studio work, but I have only worked as an assistant with the equipment. A few operators and DoPs have told me that tracing a circle on the wall with a laser pointer is a good way to start out. Does anyone have any recommendations on how I can practice? I'll have just the prep day and the test shoot day to figure out the muscle memory. (Unless I should just settle with a fluid head?) Thanks for your time in advance, -Jeremy
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