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Bar Solomon

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About Bar Solomon

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  • Birthday 12/30/1988

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  • Occupation
    Camera Operator
  1. For sale I have a brand new never used (just taken out of box and played with in the house) Gitzo gt3532lsv sticks. Carbon fiber, super light, one of the best sets of carbon sticks made. Also has a brand new never used 504 fluid head from manfrotto. I've been working on a brushless gimbal project and decided I'd put more money into it and I'd like to sell the set or each individual. I already have a Gitzo for photography and another manfrotto head and they are built to last and save your back. Amazing products. Origional prices were $450 for the head and $950 for the sticks. Will s
  2. I'll keep that in mind thank you. Nice photography to Stuart, the exteriors you do remind me of Crewdson's exteriors. Are they stitched long exposures or single shots?
  3. Thank you all for the suggestions. I've been bleaching it until it's almost falling apart and that does help. Good ideas to keep in mind though all around. I think I'm going to try taking a china ball lantern and use a heavy duty horse brush to stab as many small holes through it as I can and experiment. As much as I like using conventional equipment, I always like experimenting. There's just something about muslin and the leaking hard light that just makes skin have this kind of eggshell glow. It's also really great I've found when I need to make people with very dark brown or black ski
  4. I use it but usually for different purposes. The muslin I usually make into a softbox kind of source. And it's easy to run power from fixtures on the ceiling and gaff tape it up and use duvetyne to shape and texture the light. Ultra bounce is good for bringing up ambient/fill but it's not something very directional, at least shapeable I feel.
  5. Does anyone know of a diffusion material thats something like 250d only with really small perforated holes? I'd love to find a material that can let a little hard light escape and still cast a nice soft light that doesn't need such large source to get an exposure. Bleached muslin and mus died with peach coloring are my favorite soft romantic diffusion materials but they're the lifted Hummer SUV of the diffusion world when it comes to wasting light.
  6. I'm thinking more timmy in Jurassic park kinda fried, no skeleton but an over exaggerated version of reality. More for the flashes of light if that paints a better picture. The other bits work, I have a great makeup artist that can make him look pretty fried. I'm going to story board a bit maybe I can have him fall over on the opposite side and show less. I'm still thinking about it. I would love to see any 'shocking' examples. I can usually break it down if I can see something similar. I'll be doing a test day and I'll post it here. I'd just like to have a few methods i can try.
  7. I'm shooting on two Sony F3's so 4k isn't really an option and that seems pretty important with VFX from my limited experience with nuke.
  8. I've been getting better with NukeX, but I feel like for it to really work it still needs practical help. I'm new to VFX layered shots and know more about practical lighting. I keep getting hung up on very simple things in nuke. The cutting thing works and is very bizarre, I did a test with 4 cameras (NEX7 not the best quality) shooting an actor ripping off latex suit at 60p. Then I tried the rapid fire cutting to sound just to see the effect and test it. It's a technique I've been using in art films I'm working on but nothing narrative yet. I'm based in Santa Fe so I've been dipping my
  9. The stepped camera rig I built is on a Fisher 10. It looks like this to help you imagine. Also I'm sorry if for some reason I'm confusing, I'm dyslexic and typing isn't really my strong suite.
  10. As long as you're not shooting on the scarlet (the worst camera there is for greenscreen)! You can probably pull off a nice key though the spill seems like it might be intense if the talent anywhere but center. I would recommend primate in NUKEx if you run into trouble. Are you using the 8 cameras over and over again as if to 'fill in the gaps' like you had a full 360 to work with? I did one using a similar method if so. I will say that if you're doing that, the motion of the talent must be PRECISE every angle change. Otherwise it just doesn't really look right when you try to go all the
  11. I have an upcoming project where a child (he's actually a very small 18 year old) gets electrocuted in a motel room. I planned for it to 'blow the circuit' in the room and everything goes 'black' for a short moment and in the dark you would see the sparks/flashes from the electricity. I want it to be a little bit over the top. I'm shooting it with two cameras side by side and slightly stair stepped so one's a little higher. Then I'm lining up the same shot only ones on a slightly wider lens. The idea being that when the electrocution happens at the same time as the sparks and flicker, it'
  12. That's why I'm so interested and really think Immersive media will come into play. There's just so many things you can do with a standard square framed image and a flat screen. Even IMAX, I mean it's more immersive because it covers more of the visual field but I really think the only thing that will save big cinema from pirates is utilizing the most mind blowing immersive atmo(sphere) < ha and making something that YOU CAN'T SEE AT HOME. When everyone has a massive 4k display and surround sound, nobody will leave their couch. Even for dates. Whats better then having him/her alrea
  13. The remote for the follow focus isn't really the best for slow zooms. A zoom control is better because it takes the guess work out of speed, you can set it for any speed and just hold the trigger and it will repeat the speed every time, or you can ramp speed etc. Were you talking about pulling back while you zoom out, or push/zoom-in? I don't remember the film much. You can do it with the remote FF but it might not really be ideal.
  14. Thanks David, I love reading your posts and I'm happy you chimed in. You're one of the ones I wanted to chat with. I do disagree on frame however. Circular compositions have their own specific art and as I was saying, no live action narrative piece has really ACTUALLY taken advantage of the surface and medium using techniques and equipment specifically geared towards it. Washed out color happens with some current setups, but this isn't really a hard problem to fix. Vikuti R/P film from 3M would fix that easily. The omnimax is outdated with it's current materials. I started this to tal
  15. So... With camera bodies as small as a box of cigarettes, remote focus, and camera image stitching software thats already capable of real-time array camera monitor, when do you think the industry will realize that the single 'flat' image plane method is already fast approaching it's death and that they keep trying to polish a turd with 3-D etc. etc... We've been shooting in a square this entire time, and it doesn't feel right anymore. The ability to shoot with 180 and 360 degree array capture would introduce a new world of visual techniques both in production and post. I'm not
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