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Drew Angle

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About Drew Angle

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  1. Thanks! This is really helpful. The doorway dolly with the cheese plate seems perfect for our purposes. As for the extension - at the the very least an offset arm would be great. I like the jib for the reach (looking at maybe 5-6) Also the porta-jib mentioned seems in our budget. I hear you on the stability issue though. Im worried about stabilizing in post since well be on anamorphics and I dont want to loose to much of the frame edges since Im interested in the distortion/barreling and that aesthetic. Tristan, when you mention stabilizing the jib - assuming we dont want to boom up or down and want to to stay locked in place what methods would you suggest for stabilizing this? Ill bring up the the VFX for removing the track. Maybe get some quotes. Hopefully its that reasonable that would be great.
  2. Thanks, They're scouting with a dolly shot in mind and anticipating laying track. The challenge IMO would come more from the distance of the location from our vehicles. We've also discussed finding exterior locations with this in mind. Just want to give a general impression that we'll be moving and working in a few locations. Drone is not the look we're going for, also not looking for the zoom aesthetic. I will look further into that Kira. Seems like an interesting tool.
  3. I will be shooting a music video in Los Angeles at the end of the month where the director wants to film a series of push ins on the artist sitting in different locations. These shots will be in a variety of terrains: indoors, outdoors and some in a forest location. Our budget is under $1500 for this specific tool. The desire is to be on wider lenses – likely a 35mm anamorphic. The shot should move straight in towards the subject. My current thought is to use a doorway dolly on track, but I want to give the director the greatest length of movement possible and I'm afraid I will quickly see the track in the shot if I pull back too far. I'm wondering if some type of arm / jib that extends forward from the dolly could buy us some distance?I'm really not too familiar using dollys and not sure what to be looking for. I also don't want to over complicate the setup. Thanks! Drew
  4. Hello, I'm shooting a short film next month that has a few bicycling sequences, involving two characters - an older man and a younger boy. I'm working on finding an affordable, safe method that will give good results. I am shooting RED EPIC with Zeiss UP. A few notes about the coverage the director hopes to achieve: - Wide Shots in front of characters (biking towards camera) - closer shots (shoulder up MCU) on faces - wide shots on characters back (following from behind) - Profile bicycles on sidewalks A few factors to consider: the characters are going to be biking pretty slowly / casually. We are shooting in a small southern town, and the locations are all pretty smooth and well paved. This is a college thesis film, we're students so think micro with the budget. We have access to friends pick up trucks (and other automobiles). So my current plan of attack is to shoot from the bed of a pick-up truck. I was thinking securing a high hat and stabilizing with sand bags and ratchet straps. Here are the questions that arise: Is this approach the best given the budget restraints? Has anyone used a different method they would like to share? Going with this approach, what is the best way to stabilze a RED EPIC to a truck bed that will minimilize bump and shake and still allow me to operate and follow the action taking place? Does anyone have any pictures of rigs like this? I would love to see a concrete example of what I'm trying to achieve. Any adive for shooting the shots from behind the bicyclists - the only thing I could think of would be to drive the truck in reverse... I apoligize if this topic has already been discussed. I searched through the forums but didn't come across any results. ALSO: Here's a video with great smooth shots, it's a skateboard but I imagine the bicycles will move at a similar speed. -- -- wonder how this was done? Thanks. Drew
  5. Thanlks for all of the responses. Wondering if anyone out there has any videos with the results that they have personally experienced. I would be interested in seeing an example and hearing the details. I.e. format, lenses f/stop, time of day.
  6. I'm talking about the look of the sun synonomous with Terrence Malick films. It was all of The Tree of Life, showed up a few times in To the Wonder, and I'm pretty sure a similar technique was used in Mud. When the sun is in frame, it appears to have a circle of very defined lines portruding around it. How is this effect achieved? I know that Tree of Life shot using Ultra Primes, is this result achieved by stopping down the UPs? Or is this effect achieved using a filter? Let me know your thoughts! http://www.moviola.org/images/TreeofLife.png http://www.ropeofsilicon.com/american-society-of-cinematographers-award-the-tree-of-life-best-cinematography-of-2011/ (The effect can be seen in both these stills) Best, Drew
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