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Albion Hockney

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  1. If you work with same production team 2-3 times no one will be offended or put off by a simple email saying hey, I want to do what you do one day. Some people are busy or not helpful for sure, but some might be of some help. Or just going up to them during lunch or after wrap, building confidence in social/networking skills will really help you out...I know everyone says that, but unfortunately its true. that said lots of people who have no social skills manage to make it too so don't worry about it if you cant do that.
  2. I can't remember ever seeing tree dapple over such a large interior space in real life. there would have to be a huge row of trees
  3. Yea if you want detail on those items in the FG of your shot you need more light on them. Right now you have them right at the noise floor with what looks like slightly lifted blacks. Keep everything out of purple and crush a bit in post if you want clean blacks.
  4. yea @Satsuki Murashige I think he's a control freak! I think there are good bits and bad bits to that, but I do miss the looks of his older movies. Even social network to me looked better then the newer ones even though Cronenweth shot both of those. @charles pappas Zodiac was shot on the viper (same camera as collateral) ....but Savides shot it and you can tell alot of his tastes are involved in how it looks....IE why it looks so good! It does have some of that cold fincher vibe that newest stuff has, But I think Savides added a sense of realism to it that meshed really well.
  5. I agree with all of that, But I' i think Fincher is falling into the trap of being wowed by what digtal tech is capable of. its good at some things like the face replacements in social network, but not good at other things like imitating the feel of an old b/w film.
  6. I think fincher is just off base with his idea he can shoot on Digital and emulate looks in post. he did the same thing with a fake anamorphic look on mindhunter that looked totally fake. that said I think this sorta plasticy look is part of his thing. Gone girl and his other films have it too and it works in those cases.
  7. The colorists at the post house's do have immense experience and often a lot of creative input in the grades. They spend their whole day grading, every day. So what you pay for is their eye, just like a DP. That said....yea like everything in this industry lots of BS/Politics/Smoke and Mirrors too.
  8. There really isn't any difference any more on the tech side between pro and amateur colorists. Lots of professional colorists use Resolve. They have panels to control everything faster, professional calibrated monitors, super fast computers, but other then that it's the same thing.
  9. Your plan sounds good. I would agree 4x4ft (1x1meter?) floppy's, one or two, will cover close up and even medium close up shots. so if you don't have any wide coverage of a scene that might be quicker, The bigger frame will do a better job though if you have the crew to move it around and I'd guess it'd cover you about waist up or even a 2 shot. For direct sun your plan sounds good. with 35mm stock you could get away without much fill light I think, but if you want some extra light on faces you can bounce the sunlight back from the side. You can even do a big bounce on one side and add n
  10. I was wondering what the purpose of that was...I've seen that scene and from what I remember it doesn't feel like it has multiple color temps going on. even subtly.
  11. The setup appears much more complicated than it is. she just has lots of frames of diffusion and lots of various lights bouncing into the room. A lot of that comes from adjusting the light for each specific shot. It might be easier to Just think of it is as a big soft light coming through the window.
  12. Ughf, rates are getting tough out there these days! 😉
  13. If you plan to make your pathway through working as an AD or in production in general the best thing to do is to keep getting on set and befriend those people. Ask for advice and do a good job. I often see PA's move into production coordinater/manager roles or into 2nd AD roles over time working with the same producers. Be the most thoughtful person on set and show you can do more than whats expected and just have a good attitude. That said people do get trapped into one type of work and if you want to move away from commercial or reality into narrative you need to meet people in that wo
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