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Will Barber

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About Will Barber

  • Birthday 01/27/1994

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    Arri Alexa, RED, Panasonic Varicam, Sony f55/FS700, Blackmagic Cinema, Canon c-series and DSLR, AJA Cion, Arri SR3, Aaton XTR
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  1. Did NOT expect to see someone from my school on this list when I clicked on it. Went to college with Colin Shepherd, great guy. He's actually deaf, but that doesn't affect what he's able to do, and actually probably had a big impact on the way he was able to think visually. I remember seeing that film at the first public screening at the end of the semester at school, it's enjoyable and well executed, and I'm glad to see one of my colleagues get recognized!
  2. Thanks for the advice! I agree with you completely about that, and that will be my next addition for sure.
  3. Hey all, I've been around here before but it's been a while so I figured I'd introduce myself. My name is Will Barber, and I'm a cinematographer. I'm recently out of film school, and have been working at Maine Media Workshops since May. My job here ends in November, and after that I'm shooting a short film (https://www.indiegogo.com/projects/sherman-senior-thesis-film-by-patrick-hogue#/) for a senior at the school I went to (feel free to donate if you're so inclined, every tiny amount helps). However, my main mission here is not to fundraise for the film, but to share my work and get some opinions on my website, portfolio, and my work options going forward. I plan to move to NYC in early December, and my dream is to work completely freelance in the city. I've been looking for and applying to jobs, but having the flexibility to determine when I work and what I do is very appealing to me, though of course a job brings security and consistency. So any opinions anyone might have on my options for work in the future would be greatly appreciated. So, without further ado: http://willbarberfilm.com
  4. https://vimeo.com/128315805 Password: experience Here's a short I shot last year. Used Blackmagic Pocket, with Metabones Speedbooster to Nikon Lenses. Tokina 11-16, Nikon 17-35 f/2.8, Nikon 50 f/1.8, Nikon 85 Tilt/Shift (no regular 85 available). The slow motion was done on the Sony FS700 with Zeiss CP2, a 35 and 50 I think. The reason I'm posting is that this film just got its first film festival honor for best screenwriting, and I thought you all might enjoy watching it. It's been a while since it was finished and even longer since it was shot, so I've had plenty of time to meditate on my decisions/self-criticize, and I'd be interested to hear what you personally like and dislike about the style I used and what I did. I know a lot of what I'd do differently; some things I wish I had thought of on set, others were beyond my capability at the time, and still others are purely hindsight from knowledge I've gained since filming this. So again, really any thoughts you have about this film I'd be really grateful to hear. I hope you enjoy it! I think it's a pretty enjoyable, quirky little film.
  5. A guy here at our school had the same problem with the 500T. I believe they got it eventually, but ended up having to reschedule a night shoot cause all they had that day was 200. They may have gotten it from a different source though. What I believe the problem was may have been a bad batch of film, if my memory serves me right, so they didn't have any available for a while. I can ask later when the guys are around school though. It's a sad day when you can't get the film you want in Rochester where they make the damn stuff.
  6. What for, and why do you want to know? If you're trying to establish a studio catering to commercial shoots you may want to include a nice looking "client" area, but if you're only going for films you may not need that. A cyc wall is a plus. For mid level you wouldn't have to go all out, but a nice cyc that renters could paint white, black, green, whatever would definitely be an incentive to use your space. The reason I ask why you want to know is if you're making a studio space to rent to others your concerns may be different than if you're just making one for personal/company use, though I'd say David's suggestions are a pretty good place to start for either perspective.
  7. The worst feeling is to know exactly how you want to do something and not be able to do it. I hate lighting day interiors from the inside, but I actually did it last weekend and was pretty satisfied with the result. All I ended up using was a 1.2K booklight and a couple Litepanels. I've done similar things even with Tungsten lights and gels, and still kept it backlit. It's a real pain in the ass when all it'd really take is a rig like that through the window. The biggest thing I'm looking forward to as LED lighting improves is saving on the cost of power. When you're working with LEDs, it takes a lot less to run them, which makes rigs like this more accessible to smaller productions. Even what we have now is awesome, the Astra EP draws 110W at the output of around a soft 575HMI. The Mactech lights are pretty nice too, the 960W model is pretty bright for under 1000W.
  8. There's a few methods to getting a light up there. Hell of a lot safer than a big stand. I TA'd for this gaffer at some workshops http://www.moflam.com/moflam.com/Photos.html#18 He really does some extreme setups.
  9. Everyone who touches it at my school is very disappointed. I predicted at the beginning of the year that no one besides me would be able to make it work for them, because I'm the only one who actually read up and was able to avoid the flaws of the camera. Even then, I wish I had been able to capture my lighting efforts more accurately, and should've just used the FS700 for the whole thing.
  10. After looking at their site, the example photos on the 150mm version are what look super unsafe. The 100mm version photos have a lot better setups, with the "C" of the clamp adding a 3rd point of contact that would resist spinning. It does look like a really handy device.
  11. Have you encountered any issues with it falling sideways, rotating on that screw? Doesn't seem particularly safe to me, based on my experience with C-clamps, though I admit it looks pretty beefy compared to the ones I've used.
  12. It seems you solved the issue, but GoPro had an app to transcode it to Cineform, I'd imagine you could change the framerate in that as well. You could've also used 5DtoRGB, which is free if you don't need batch transcodes and gives you ProRes, I don't recall if that does framerate changes. Also Adobe Media Encoder could've given you ProRes or DNxHD and changed framerate. Honestly I'm surprised FCPX doesn't handle a mixed timeline without putting a special effect on it.
  13. Thanks for clearing that up. I don't really use booklights at all, but that makes sense now.
  14. A couple weeks ago. If you squint, you can make out my LED "sun" above the car. I love those little guys for some super guerilla shooting. Second pic is returning to the location with my sodium vapors and a genny for the final showdown scene. Can't wait to share the trailer with you all.
  15. Have you tried transcoding it at all before editing? That seems like a strange issue, most modern editing systems should have no problem with mismatched framerates or codecs like that. I'd try converting it to Prores or Cineform before editing, see if that helps.
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