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Josh Tree Park

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  • Occupation
    1st Assistant Camera
  • Location
    Long Beach, California
  • My Gear
    RED Digital, Arri Alexa, Sony Cinema
  • Specialties
    Camera Building, Focus Pulling, Data Wrangling, Helping DP's anyway I can.

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  1. Hi everyone, I'm planning for a music video shoot and we had an idea to rig a series of Kino lights as stage decorations and have them flicker on and off continually - such example of the setup is shown like this : https://www.youtube.com/watch?v=loNuTsyN1r8 The Solutions - Movements MV - 0:05 ~ 0:15 So my questions is - I understand the lights are rigged using Kino Flo's harnesses, but how would I make a whole bunch of them flicker individually using Kino Flo's? I don't think there is a way to hook them up on a DMX board, so is the only way to make them really flicker is to have someone standby the ballast and rapidly turn on/off the switches? Would that damage the bulbs if we are scheduling for 8 hour shoot day? Thank you all for your opinions.
  2. We ended up not doing the shot, went with a different approach. :/
  3. https://www.youtube.com/watch?v=dNgdAti0DLQ Anyone have an experience with this K-Flect system? I've been tracking their product for a while, but haven't had much experience with it. The idea of reflecting different light based on the texture and light distribution sounds like an interesting concept, not to mention their minimal foot print of equipment on set. What do you think about this system? Worth replacing your 8x8 rags and bounces?
  4. So my question would be, how do I shoot it so when we split, it seemlessly separates into two different actions?
  5. I'm not sure if you understood my post correctly. The effect is how a single scene seamlessly splits into two without missing a frame to naturally transition into two different camera framing. The video you posted would be a rather simpler effect since it's a 4 different videos played in different borders.
  6. Hi everyone, I'm DP'ing a music video soon and the director and I've talked about achieving some interesting techniques and one of them that we've been scratching our heads to figure out how to do was a live-split screen. A couple of examples can be shown on the following : EMINEM - Space Bound MV (01:15~) https://youtu.be/JByDbPn6A1o?t=1m15s Film, Green Hornet (00:11~) https://youtu.be/1ttcmZYbFiU?t=11s From what I could tell, it's a lot of lining up the shot correctly and key framing with scaling... But I just can't figure out how to do it in such a clean way. Anyone have an experience with this?
  7. I read somewhere that Fast and Furious 7's gun fight scene which was lit with bullet ricochet's was shot on film because they couldn't figure out a way to cut the ricochet's rolling shutter half frame flash... Just an FYI
  8. I can answer this question since I was there. We had 3 space lights hanging above the ceiling. Bob had the middle one turned on for the ambiance, but he wanted the harsh shadows coming from the top light diffused from the actress, hence the 4x4 diff on top of her head.
  9. Hi All, as it states in the topic, I've been struggling to figure out my way to go from commercial world to TV/Movie world and I need your advice! I've started to work on commercials as a PA about 6 years ago, went to a film school, and climbed up the ladder long enough to purchase AC gears and gadgetries and been getting mid-high range commercials as a 1st AC enough to make a living, but I always knew in the corner of my head that I wanted to go work on feature films or single camera TV shows. After digging through production gig websites and sending usual emails to the colleagues I know, I've realized all my contacts are mainly commercial and I really don't know anyone who works in a narrative filming world. I want to make a critical decision by this year, but I honestly don't know where to begin. I've even thought of starting from the bottom by abandoning all my AC gears and go work on narrative shows as a PA to climb up the ladder again. Ideally I would love to get a Camera PA position on features for starters, but I don't know where one can go and get positions like that. So please, the experts in cinematography.com, what are your advices? Any kind of guides would help. I deeply appreciate your comments.
  10. I ended up getting a Inovativ's Scout 37. Cart itself is $3k, plus camera mounting accessory I want to buy, plus a tripod hook will probably cost me another $1k, but I'm hoping it will last me very long time.
  11. I've been on many shoots that used Camera carts, but not owning one, most of the time the production just rented one for me. I'm about to make a decision - buy a camera cart for my AC gigs or just keep on letting productions rent one. The way I see about the carts are that you probably will never make money off of it. Yes it's nice to have one, but there are too many rental houses that rent out carts for dirt cheap... and as a owner/operator, I probably will never get the money you invested (perhaps in a very long run.) Owning a piece of gear has got to be a business choice, so from a business stand point when I know I cannot beat the rental company's prices, should I own one and underbid them by biting the bullet, or save the money for something else? What are your thoughts?
  12. The only true 1080P resolution monitor in the market in a small form factor is TVLogic's popular VFM-056's successor, VFM-058W. It truly displays 1080P scale and the sharpness on that monitor is incomparable to any other monitors in market (DP7, Odyssey, etc...) I use it to pull focus and since it displays all 1080P resolution pixels, there is no grey area whether you pulled a great focus or not. It was pricy when I bought it last year (it still probably is) but I'm telling you, aside from its brightness, it's the best one so far.
  13. The replies seem to be kind of going off topic from OP's post. It is not crazy rare for DP's to own all the lighting gear, but they are hard to find. Sure, there are some guys who basically are a small rental company him/herself, but to answer your question, no, it's not crazy to ask for DP's with lighting gear. But just know that there aren't that many out there. Granted, you probably won't find a DP with multiple HMI's and crazy diverse grip package. At the most someone with a 2 ton truck...
  14. I'm about to shoot a tiny test project where a 3 page Conversation scene takes place at an open spaced parking lot. Looking at the forecast, I expect our day to be a cloudless sunny day. I just wanted to hear some of your techniques on working with the sun, precisely on timing & scheduling your shot. How do you work with the sun? I'll take all the explanation you got, but a few questions I would like to have them answered would be... - Do you schedule the wide master on early AM or Magic hour? - Do you choose to not shoot when the sun is directly above, sometime around maybe 11AM - 2PM if wide diffusing isn't an option? - Do you try to backlight the actors as much as possible with the sun? - If your wide was very contrasty, then do you try to match the contrast on CU, or will you ignore the consistency and go diffused instead? Thank you all for taking your time to read this post. I'd really appreciate your opinions on this.
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