Jeremy Montana

Seems like it might be a silly question, but which is done first? Is it better to correct the full image with effect finished, or correct the image to the proper look and then let the SFX guys match up the elements? Thank you.

Thank you all for your responses.

I would appreciate any advice, tips, or tricks on shooting daylight exteriors over the course of a few production days related to keeping the daylight consistent for a long scene. Thank you.

Hello. I am about to embark on my first true 35mm shoot as the cinematographer. I'd really love some advice on what 35mm color stock to use for the project. I am interested in getting a very rich and saturated look out of the east Texas daylight, and a crisp but fantasy-like look to the nighttime. We do have a decent budget so I plan on having all the light I need(at least projected). Think LAST PICTURE SHOW/ALL THE REAL GIRLS/SEARCHING FOR THE WRONG-EYED JESUS/ Thank you, Jeremy

Thank you for your comments, Martin. As stated above in the thread, I am fully aware that the trailer does a disservice to the story. Unfortunately, I don't have much say in the trailer as the DP.

I think that is an expansive question and can vary from person to person/artist to artist. I have a proclivity toward odd framing and taking risks on lighting and composition. And I will redly admit it was a detriment to some shots in the canon of this film. I am nowhere near proficient enough technically to start expanding on that spectrum. You learn and you learn. I definitely approach lighting from a narrative standpoint, as I think any DP should, and then build from there. I love working as organically as possible while serving each project accordingly. This is probably all redundant and general to most seasoned DPs here, though. Either way, those are my thoughts.

Thanks for your comments. I am currently studying Cinematography at Art Center College of Design in LA. Despite small shorts and class assignments, this is the one big project so far. As to the trailer content, the idea was to get a trailer out as quickly as possible to get more money for post(the usual story). The sound edit was not complete and the deadline for Sundance was fast approaching. We had 2 1/2 weeks of post to make that deadline. Surely, there will soon be a fuller trailer. We had a standard package - 18, 25, 35, 50, 85. I was very shallow on any lens I used except for day ext with the 18. Had to keep the lens open as much as possible to hide groundglass in dark situations. Of course there was the struggle of using a very minimal light package when shooting night interiors that are supposed to play as day. I shot in 720p24 for the entire shoot with (2) 16gig cards. We had a few slow motion shots that I cranked up to 60fps and with Panasonic's converter addendum(found on their website) it looks beautiful. I was sadly given a lens, the 18, that had a brutal aberration on the the left side. It basically left me with 15% of the frame blurred. My fault for not noticing before taking the lenses. I learned 100 fold what I have in the classroom in 8 days on set. You can't set an amount on that kind of experience. Jeremy

Please take a minute to view the trailer. Please forgive the encoding of the trailer for the time being. www.sunday-movie.com This is my first big project as cinematographer, let alone a feature. The film was shot on the HVX200 with P+S mini35 adaption and zeiss super speeds. The shoot took place on location in Montana and lasted for 6 days. 2 days of pick-ups in Los Angeles. Lighting kit consisted of 4 Arri Juniors, (2) 650s and (2) 300s. Thanks for your time, Jeremy

Afternoon, I am very new to all this equipment, and am en route to purchasing my first meter. I am looking at the 758C but not sure what the difference between the 758DR and the Cine is, if any? I've heard the the former is made more for digital still photographers, but at $250 less and the opportunity to program digital references, I am interested. I am currently in school, studying cinematography, working with everything from 16 to 35 to different HD cameras. I'd love to be able to encompass all of those formats within a meter. Thanks in advance. Jeremy

Hello, I am just starting school, and I have a project involving characters sitting inside a movie theater during trailers/movies. The theater itself has adequate lighting, but I am in need of a few suggestions to get the onscreen glow reflected on the audience. I am lost as how to get an interesting composite of colors and glow to emulate the bounce of a projected image on the audience's faces. Thanks in advance.

I would very much like to experience the film in that format, please post if any screenings are scheduled.

Wow. My apologies, I just read the previous post by Sebastian and realized I pretty much pointed out and suggested the same things. I think there is a reason for that, as we both had the same complaints. As for the second post, I merely wanted to engender a mention of that as you will surely come to that same conclusion. Jeremy

Francisco, Firstly, pare it down a bit. Please, make a point of getting a cut of your best shots and never let it become repetative as some of the sequences are in this reel. Many of your shots were very shakey, be wary of making it intolerable unless it is purposeful. The black & white scenes were nice though, well lit and fairly composed. One shot I did like: The wide shot in the desert, where young man in the lower-right pops out of the shutters. Based on this specific presentation, I would not be inclined to ask or hire you as a DP. I felt the home video-esque ocean and hitchiking scenes were not interesting to look at, and overall your reel lacks many awe-inspiring shots and did not stir any emotions inside of me. At the same time, I am always impressed by anyone who has a demo reel, honestly. Congratulations and all my best on getting future work. Jeremy

Thank you for the quick impression. I was thinking Nolan would do some great work with Bale and a such a cherished franchise. Question: Does the gigantic IMAX screen take away from the experience at all? Do you feel you are looking across and up to catch certain moments, as the entire first few rows of a sold-out showing in a normal theater would necessitate?

Shaun, I am aware of those advertisements/warnings you are talking about, and feel the same way you do about the production value. Unfortunately, I do not know the company behind these fantastic teasers, but am equally as impressed by their consistent and entertaining nature.