Jump to content

Drew Angle

Basic Member
  • Content Count

    7
  • Joined

  • Last visited

About Drew Angle

  • Rank
    New

Profile Information

  • Occupation
    Cinematographer
  • Location
    Chicago
  1. Anyone have a slot open in a fantasy football league?Chicago Bears fan here. In anticipation of a lackluster season I’m looking for other entertainment from the rest of the league.This will be my first season so should be easy money lol.
  2. 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
  3. 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.
  4. 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 se
  5. 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 /
  6. 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.
  7. 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/america
×
×
  • Create New...