Jamison Madison

Trying to figure out how to accomplish this type of look. Seems like some large overhead soft light. Any idea what this set up might have been like? http://imgur.com/a/Cu14B

Thanks Stuart, that's very helpful. Like you said, the area needed to cover on wides shots would determine the light source. But say for example If it was simply duplicating these 3 shots exactly as you see them there, not any wider, not any close and no other coverage, would you go with smaller sources or would you still choose HMI's or bigger sources if cost wasn't an issue?

Say you were trying to replicate this shots for an upcoming project. Are big sources like HMI's the way to go? Or can this be accomplished with say small sources like Kino's, Leko's, 1k's etc? I'm asking because in working on smaller projects those are usually the only options available and while they get the job done, is it worth going to the bigger sources more expensive sources if the option is there? If the storyboard only calls for tight shots like these, would you go with the smaller sources for convenience, or would you still use big sources for a better output and higher quality of light? Just as an instinct, what would be the first choices in terms of sources that would come to mind if you were to replicate these exact shots? What sources would be you go to here? Would you go for small sources such as Kinos, Leko's etc or would you request HMI's and bigger sources if possible?

Thanks Stuart.

Having a great eye, specially one that is compatible with the director is more important than knowing all the technical things about the lights. Are you going to have a gaffer? He's going to be your best friend in this situation. Other than that, some free resources online would be Shane Hurlbut's online classes, there are a lot of free video classes online and you can also subscribe to his "Inner Circle" classes. There are also a lot of classes on YouTube which are really helpful, Arri's channel has some full lighting workshops which are great. You can also find some other lighting classes from pass accomplished DP's that you can find online. There is also a YouTube channel by Tom Antos which is really great. His videos lately have been more based on tools and new technology but in his earlier stuff on the channel he mainly focused on very extensive and detailed classes on lighting, a lot of them music videos but they give you a great starting understand of lighting. Hope that helps. But again, remember, talk to the gaffer, he'll be your best friend here.

If anyone else has dealt with a situation like this, please share it. Thanks.

Thanks for the reply. And yes, I've completed half of the required safety classes already well ahead of the time limit I have to do them all, it just seems really weird receiving this letter from 600 and feeling pressured like this join so quickly. The IER has not mentioned anything about this nor did they bring anything like this up when they sent the letter saying I had been placed on the roster. This is all coming from 600, not IER.

Hey gang, I recently decided to file a bunch of non-union days to join the industry experience roster and it took a few months but I got on it. Well a week later received a letter from Local 600 new membership saying that in order to remain on the Industry Experience Roster I must meet a financial obligation to Local 600 and that my financial obligation will continue to accrue from the date of this notice. They are asking for quite a lot of money in terms of down payments and monthly dues. I'm not ready to join the union yet as I don't work union shows at all, but just wanted to get on the Industry Experience Roster in case a union offers came by I would be ready to join 600 and not have to deal with the lengthy process of getting on the roster. Anyways, they seem very pushy from this letter, even saying that if I don't join right away and star paying the due that I will be removed from the Roster within the next month. Has anyone here dealt with this situation before? And how did you handle it? It would be unfortunate to be removed from the roster, but it would also be pretty dumb for me to pay so much money to join the union when they won't be help me find union work and all the work I'm currently doing is non-union.

What daily rate would you guys recommend for 5 week (around 30 days total) feature documentary budgeted between $100K-$150K ? Just as DP, no gear.

Seems like I've been getting screwed on my documentary work because these rates seems very high to me. These even seem high for indi narrative feature films. They seem like union rates as oppose to indi production rates.

What would be a fair rate for a DP (no gear) shooting a fairly financed feature film documentary? For any of you documentary shooters out there, what is your usual day rate when a clients hires you based on your experience? What would be your minimum/maximum per day rate?

Matt is a good guy, he genuinely wants to help upcoming DP's. I think a lot of you took his video the wrong way. Take a look at some of his other stuff on his channel, it's good stuff.

Thanks of the info guys.

On Imdb, a lot of operators are usually credited simply as ( Camera Operator ) on most projects. But other operators on IMDB are credited as ( "a" camera operator ) instead. The question, is the "a" added intentionally to specify that they were the main camera operator of the show? As an operator which one you do prefer? Just "Camera Operator", or "a" Camera Operator ?

Thanks guys. I reached out to a few rental houses. Hopefully they'll get back to me.