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Dustin Supencheck

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About Dustin Supencheck

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    Cinematographer

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  1. Also, Lustr's and skypans are super awesome for this type of thing! Find yourself someone who's good with dmx/board op and you'll get some really nice stuff. Obviously a good amount of haze will help you out. https://www.etcconnect.com/Products/Lighting-Fixtures/Source-Four-LED-Series-2/Source-Four-LED-Series-2-Lustr/
  2. Thanks for the advice fellas. Seemed pretty obvious and I've realized it's all a balancing act, but I appreciate the feedback.
  3. Hey Everyone, This is the first time I've legitimately run into this problem. I'm loosing out on some work/precious pay on one job because of the out of town travel on another and of course they are not offering any pay for the travel day. What is standard practice for travel days? I've heard some friends argue for a full day rate or half day rate. Also, what about shoots that are out of town and you have "days off?" Is it better to just negotiate a flat rate for the entire project? Just wanted to get everyone else's opinion, maybe hear what the union standard is. I am by no means
  4. This is always a tough time to shoot. What it's coming down to is some intense pre production. I would say some of the short you HAVE to shoot during these two 30 minute windows. Yes I think you can shoot in the morning and at night. They are marginally different. Which over 4 days of shooting only gives you apprx 4 hours of actual shooting time. That stated you need to know exactly where your camera is going and what your blocking is far in advance to production day. If you have enough pre planning you can knock out a lot of shots in this short amount of time since you are simply using al
  5. I would probably use a 2'x4 bank kino with grid cloth and maybe some sort of blue to match the look of the dash. A mini flo might be a useful tool for specific closeups. Depending on how tight your space is it might be a difficult task keeping the kino out of frame and rigging it. You can also make a very light soft box out of a shoe box, incandescent light fixture/bulb, and diffusion. Something similar to this link. http://www.diyphotographystuff.info/474/diysmall-softbox/ Just replace the flash for an incandescent and you have a very soft and very light fixture.
  6. I worked at a rental facility where we would drive a remote control car around practicing our operating, focus pulling, and driving skills. Good way to waste some time.
  7. One of my most useful bounce sources I made was a 4x4 piece of bead board (foam from home depot) fastened to foamcore for support. Then I covered the foamcore with muslin I purchased from a fabric store. Cost less than $20. The great thing about fabric stores is that you have so many options of quality and color in the fabrics for half the price. The film tools stuff is expensive in the same way that clothes pins are cheaper than "C-47's"
  8. Even with the ability to change white balance in post doesn't negate the fact that the daylight is a different temp than the fluorescents. I have shot things that a mis match in color is appropriate, but it gives it a much less "pleasant" look. One thing I would consider is not using the fluorescents at all. If you have large enough windows that light will be enough and window light looks beautiful. That depends on if you're seeing the fluorescents in the classroom. Don't know how many bulbs or even how much time/money you have, but you could also gel the fluorescents. Not sure this
  9. A little late to this forum and a little off topic. Has anyone had any experience with scanning super 16 at 4k? Is this overkill?
  10. I've been reading a lot of film vs digital budget breakdowns and everyone keeps forgetting the cost of 35mm camera equipment. In your case you own the camera but in many they compare the raw stock, processing and scanning to the rental of an Alexa. Well what about the cost of an equivalent 35mm camera and aks?
  11. Another thing I've not been so clear on is the difference for "super 35" is this simply adding the soundtrack area in the negative? In which case you get same aspect ratio as 2 perf plus extra resolution from exposing more of the film negative. Plus 1/4 the cost of course.
  12. And it takes years for these guys to get good at this job. Unsung heroes who only get noticed when they do a bad job. Especially with the popularity of shallow dof and handheld.
  13. Do Dop's often get residuals on a project? I was thinking more in the vain of indie features.
  14. Sometimes people confuse "dim" with "soft." Mustn't be afraid to go a little bigger.
  15. Hey everyone, I'm shooting a short film in the Boise, ID area and I'm looking for a solid g/e rental. We require some larger set ups (18k, 6k space lights, etc) if anyone has any recommendations in the Idaho/Washington area please let me know. Any help is greatly appreciated. PS Idaho is such a beautiful area and I'm shocked more films aren't shot there. Thanks
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