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Albion Hockney

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Everything posted by Albion Hockney

  1. Albion Hockney
    yea I shoot stills. always have something ....right now 35mm SLR has been the choice.
  2. Albion Hockney
    what does "from a shows point of view" mean exactly. generally to simulate sunlight you just use larger lights farther away. if all you are doing is lighting on person, if you can shoot at a reasonable F stop 2.8/4 and have a modern camera shooting 800ISO you could probably get away with something between 2000 and 5000w or something like a 1.2K HMI Par would work. you also need to factor in the fact that there is natural fill light from the blue sky and the sun bouncing off other objects like white/grey cement on the ground. generally the way people do this in studios is with a grid of overhead space lights that give a general ambiance and then use one big strong light for the Sun
  3. Albion Hockney
    YES! watch lots of movies ...look at art ...go see things anything.... and then think about them. What did you like? why do you like these certain things? why do you like shooting movies even? what is it about it? the more to the core of questions like this you can get the more you start to understand your taste and preferences and why you have those preferences. A style will develop naturally out of this practice over time, and yes of course it is heavily influenced by your contemporaries and the current "movements" but don't worry about that too much just do your thing. I was OPing for a successful MV/commercial DP not long ago and talking him up for advice and he just said two pretty simple things 1. take risks and 2. have a unique perspective....that you need to have something to say...your not just a technician, develop a voice.
  4. Albion Hockney
    I know you can use diopters on anamorphic to achieve close focus, have you looked into that?
  5. Albion Hockney
    I haven't really used zooms very much and I'm curious what are the standard differences in how they flare/veil. Is there a major difference? any examples maybe?
  6. Albion Hockney
    Great, thanks much
  7. Albion Hockney
    Anyone know if there is a PL mount 1.4x or 2x extender that works with this lens?
  8. Albion Hockney
    Any tricks with the flares? are you holding the lens off the mount? 0:48 is what im most curious about
  9. Albion Hockney
    a production company I work with a lot has a Light Red Package and a FSB 8 which is rated for up to 20lbs. I will tell you anytime the shoot is more then running around doc style I rent a 100mm Satchler (usually a video 20 I think) and it is much better. It's just a bigger stronger head, if you are doing any kinda precise moves the FBS8 is a little of a stretch to work I think and the legs and stuff are super light and crappy (atleast what they have). That said the FSB8 setup is super small and I actually do like it for the run around doc stuff. A lot of people accustomed to a more traditional cinema setting would scoff at it for sure, but it's not bad. And the price difference is crazy to go 100mm. if your a one man band I'd go FSB8 with a reasonable set of legs. I would never one man band 100mm sticks, that is too much for me.
  10. Albion Hockney
    I would start reading photo theory which is pretty much the same subject matter. or art theory for that matter......at a certain point your just into aesthetics. I think the general consensus is proximity to truth ....but there a whole lot of social factors in the way.
  11. Albion Hockney
    I would just rent that stuff till you can buy the good stuff. I have never used knock of brands like "shot 35" ...assuming made in china? It might be ok? but there is a reason there is kinda "industry standard" brands I have learned that over the years being on sets with the crappy stuff. Again, just be careful and If the item is something you don't need every time you go out or you are really getting something cheap I would just rent it for now.
  12. Albion Hockney
    I think the biggest thing I have learned and always learning is that don't think you need to do a lot to make "High end" or really good looking images. A lot of the best stuff you will see is done very simply it's just about making the right decisions. ....so sometimes you can leave the 12x set on the truck!
  13. Albion Hockney
    As Satsuki kinda implied I think a lot of the look comes from Fincher rather then the specfic shooters. Fincher has a pretty specific way of working. I think a lot of the look is the composition/PD as said. The other side of it is the fact he keeps thing very "Natural" lighting is never really super stylized and if it is the stylization is found in contrast ratios. IE Silhouettes or something.... Sources are very rarely shown strongly at all. I also think part of the look is the RED camera itself which he seems to really show its face. I always feel you can very obviously tell his films are shot on RED. Can't really point to the specific details of why, but I know I'm not the only one to feel that way. Maybe it's just the minimal lighting and pushing the camera a bit.
  14. Albion Hockney
    ^Cool Idea, post examples if you ever do it!
  15. Albion Hockney
    I don't think any diffusion was used in either of those references actually. You can see both have hard shadows. Fill light on the first for sure and the 2nd still is either the sun at a low angle or large HMI's I was in the same place a couple years ago and hadn't dont many if any day exteriors and I had read Roger Deakins say he never cuts the sun with diffusion really and if anything just use's fill light. Changed my approach for sure, its hard to cut the sun and get a look that feels realistic at all especially if your background is being hit by direct sun. It can work if your shooting up against a shaded area sometimes I think but other then that I now try to use the sun as much as I can.
  16. Albion Hockney
    A large percentage of successful artists come from upper middle class or wealthy families. Of that group many also have parents/family who work in the world they become successful in as well.... or at the very least are connected to some liberal/art leaning crowd. Half of my friends who are interesting/successful come from worlds like these and it is no coincidence. I myself have some of that, although not quiet as much as many others. That's how things are. Its called privilege, welcome to society haha. That is not to say you can't get in from the outside, but its of course gradually harder depending on how far away you are from that world to start with. If your a poor kid and no one you know is interested in art that gap is going to be a lot bigger for some kid whose upper middle class and has a mom who does theater and a father who was a camera operator for 30 years or something. that said regardless of your starting point eventually comes the day you need to "put up or shut up" and if your no good your no good, but I think its important to note that very little of this stuff is some god given natural talent. It comes from having a very strong passion for making movies and wanting to learn how to do it. People coming from a place of privilege with art/culture around them are much more likely to develop those skills. the larger point of all of this is that Connections and Skills usually coincide. They are not mutually exclusive at all.
  17. Albion Hockney
    i would be weary of all the cheap accessories David, keep in mind you can always rent that stuff till you can afford it. Anything like a set of stick you will be able to use in the future as well with other cameras I would atleast buy something a little more solid. I have never used a knock of set of sticks like that, and even manfrotto stuff is a little wonky. I would buy a satchler for a few grand.
  18. Albion Hockney
    I have always been interested in people working with long lenses, generally the use for creation of feeling of distance/voyeurism. I'm curious if anyone has some examples of work in cinema over the years they like. I just saw a contemporary film "Heaven Knows What" shot by Sean Price Williams that I thought was really interesting shot all on the extreme long end of lenses. Another example I think would be Blue Valentine's contemporary portion which I thought was also great.
  19. Albion Hockney
    *Color Filters. Filters that are intended to only effect chroma values. I use BPM all the time now, it's great.
  20. Albion Hockney
    I think you need to really hope for overcast skies if you are going to see the sky, else I don't think it will really be possible to be honest. I would underexpose a bit and go kinda low con as that is what you are seeing in these pictures with the exception of the 2nd one of the woods. Could also try Black Pro Mist. I have tried Ultra Con filters before and found that they just lifted the blacks with out really adding any information and that it would have been the same if I just did it in post. I think Low Con's are more stylized though. to be honest filters for color are pretty worthless when shooting with a contemporary digital cinema camera (alexa/Red)....Post color is a big part of making good images now!
  21. Albion Hockney
    HAHA, that is awesome Satsuki I have thought about that too.... maybe I could convince some people to shoot film if I had a camera! good luck, hope you get to shoot some great stuff with it
  22. Albion Hockney
    Ah you bought a used one? ....I'm going to look into that I bet they are going for nothing!
  23. Albion Hockney
    M40 is just like M18, it packs a stronger punch and is a cleaner source. Great light. like a 6k Par and little more in terms of intensity
  24. Albion Hockney
    this all just super dependent of the situation. some of the best stuff I have ever shot has been without lighting. Lighting is not a thing in itself....natural light is "Light" ....the lighting instruments you carry with you are just another option or way to craft the light. sometimes what is there already is better then anything you could ever do. half of this cinematography thing is about location scouting and building composition's that say something. Lighting is apart of both of those things, and if you can find the right location and the right frame where the sun is already working for you your in business!
  25. Albion Hockney
    This is very interesting, didn't know about this price drop. am I the only person who thinks the F3 image is better then the F5/55 in some cases. i think the F55 is a higher end camera in terms of handling color and maybe latitude, but the image is so lifeless. F3 is nice and soft and kinda like a cheaper alexa look to me. F3 seems better then c300 to me as well. The other camera in this same space that is similar is the new black magic 4.6k sensor ursa mini. I donno if F3 or that is the way to go. I have been looking to buy something in this bracket though for some documentary work.
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