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James Wallace

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About James Wallace

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  • Occupation
  • Location
    United Kingdom
  • My Gear
    Red Epic
  • Specialties
    I work for a small production company and as such wear many hats. Depending on the day of the week I am variously a DoP, Camera Assist, Gaffer, Grip, Editor, Motion Graphics Artist, Sound Designer, Inventor. I love my job.
  1. Hey there. In my day job I regularly shoot from gimbal stabilizers and aerial rigs using dslr and mirrorless cameras and lenses. Given that I do not often have access to a wireless follow focus, I have to improvise and work with hyperfocal distances and such. The one piece of information that would be really usefull to me when planning shoots where we will be hiring in this sort of gear never seems to be available in any review or spec sheet. That is the distance beyond which the lens has infinite focus. I can usually take a rough guess with fixed primes, but with compact zooms i
  2. Hi Paul. I'm not 100% sure from your description exactly what you're trying to achieve, I'm guessing the 'magic' door appears in open space in the middle of the barn, rather than in the wall. Is that correct? Obviously how you achieve this will depend on the time and resources available to you, is there a reason why you must create this effect practically? In my case I would be tempted to create most of the lighting effects in post rather than on set, allowing for much more control over the final look of the shot. I would shoot a clean plate of the barn and then shoot the door an
  3. After Effects also has a handy tool for this called 'CC Force Motion Blur' It works on a similar principle to Twixtor. If you have remapped footage from 50 to 25 fps and the action looks choppy I've found this will yield good results in all but the most extreme circumstances. Drop it onto the footage set the shutter angle to 180 and up the samples from the default 8 to between 30 and 60 (you may need to go higher if you have very quick motion elements in frame). Be aware that it does take some time to process (the higher the samples, the longer the processing time) so it's probably bes
  4. Thanks for your input Chris. This definitely looks to be the way forward given the time constraints Now to remember where I put that roll of diff.....
  5. Thanks David Unfortunately as much as I would love to try your second suggestion both time and budget will not allow for it. If I'm lucky I will have an hour to rig and shoot this entire scene with only one other crew member to help, so the simpler the better. I was already thinking along the lines of your first solution, so I'm glad I wasn't too far off the mark. Given that the amount of light coming through the window will guide the overall exposure and the completely white walls will help immensely in bouncing soft fill around the room I thought I should probably throw the 300 thr
  6. Hi Guys. I'm new here and relatively new to lighting for film. I'm hoping this forum will guide me and help me improve my lighting techniques. I'm shooting a small corporate on Saturday and there is one shot on which I would appreciate your suggestions. I have not had a chance to recce the location but have been sent this photo from the client. The scene must look like daytime, but unfortunately due to a tight schedule it is likely to be shot at dusk (best case) or in total darkness (worst case, hopefully not as I will then be battling exterior sodium street lighting too).
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