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Jay Young

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About Jay Young

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  • Birthday April 16

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    Arri 2C
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    Tungsten Hard Lighitng

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  1. You are going to fight ambient in the car, but its possible. You are also going to need diffusion on the bottom left shot. All of these can be done with the kinos. Negative fill will be much needed on this.
  2. I agree. Big lights, big setup. Power requirements are the same, Wendy lights are a bit cheaper in the long run, but I'm very partial to tungsten.
  3. My 1st AC would welcome your organization, but would insist that you use his system. Failing that, he would love that you had a system at all! I have seen him try to teach the job to so many. We can teach the job, we cannot teach attitude. Thanks all for the insight.
  4. A young DP is holding a 40 pound camera on an easy rig. The gaffer is dancing around some random LED panel as the DP directs and looks at an onboard monitor, frantically scrolling through available ISO options. 6400 seems good. The third electrics stand by other lamps waiting for a radio call from the gaffer. Finally, all is set and the gaffer walks away. The DP might ask a random crew member to move or adjust a lamp, and would certainly never tell the gaffer the goal, or larger picture. And so it goes, for weeks. Every setup, the DP runs around and makes up the lighting plan on the spot, the gaffer trying desperately to keep up, run power, move staging, delegate work to the crew, collaborate with the grip department, and navigate the diplomatic minefield of production. It seems that, due to the increasing youtube popular culture and education stream, that many young persons (30 and under) have a quite difficult time utilizing crew, or collaborating with department heads. The reasons stem from a notion that one must do all the work personally, and reliance on anyone for any other skill is never a guarantee. Yet, when faced with that very problem, most of these "DP's", who are in the position by chance, fall back into micromanaging every placement of lamp, stinger, staging, and crew, while making up framing on the spot. Of course, no one prefers to work this way, it happens as circumstance. One could choose not to take a job such as this. However, it is a valuable resource for new crew members wishing to learn to be a grip, or spark, or AD. What are some options for the new crew members in key positions to deal with a DP who perhaps is in over their head, or feels most comfortable dictating the placement of every single item on set. What are some ways one might guide a young DP in their first feature to better utilize department keys? Does anyone prefer the crew to simply execute a lighting plan? Does anyone prefer crew to collaborate with? Does anyone prefer an unplanned day, simply making it up as they go? At what point (production size, budget level) does the ability to micromanage become unfeasible? Tier 1? More than 30 crew members? Thanks for all your discussion on this. Trying to help my good friends through some rough waters.
  5. Do the visuals of underexposure and low contrast go together? For example, DARK is quite low contrast (and personally flat, and boring), but I don't feel its underexposed. Underexposure doesn't seem all that overused in the shows I watch regularly.
  6. It could be that because the film was made deliberate to recreate a style and era, that you don’t appreciate what it is. Modern audiences are used to a certain visual language. period pieces done in a modern style are different to a contemporary piece done in a period style.
  7. I just spoke with Panavision about renting 2-perf cameras, and I quote: "I could give you the 'friends don't let friends shoot 2-perf talk', but you will have every bit of dirt, dust, emulsion, and hair in every frame, its not worth it". That's one persons opinion, but it hurts a little when someone like that doesn't want to support the decisions of the film maker. I feel 2-perf is a perfectly valid choice.
  8. I'm doing a short on 35 next month. I feel its worth it. I could shoot it on an Alexa, but I want a different look and feel. I do not subscribe to the opinion that they look "the same". I also agree with the other comments - Actors have no direction, and Directors have no specific thoughts. Last year, I worked on a film in which the Director had shot 197 minutes of edited footage, in the first 10 days, for a 90 minute film. I feel there is a way to get back to the discipline of filmmaking, but coming from a background of digital - cost is negligible - DSLR beginnings, there are a fair few actors and directors who need a check in the reality of work ethic. It could also be argued that there are producers who need to not be taken in by marketing. Shooting in 8K or beyond is interesting, but pointless. Low budget films from $1-5m still have producers who purchase ready made external hard disks for storage, backup, and live editing, at the lowest cost possible. It happens daily. While we, in the field, argue for the minimum redundancy. I realise that an arguement can also be made that there is no backup of a film negative, which, once lost in shipping or destroyed by the lab, must be recreated. However, I feel it is a far more safe option, than risking the lowest paid (or un-paid) camera team tranee or digital utility person to make sure the camera data is safe. Its sad that film processing is rather expensive in Europe. To compare, the best average prices I could find in the US for stock + processing + scan one hour of footage (2000 feet of 16mm) comes to between 1500 - 1800 euros. Its on the high end for sure.
  9. The Alexa is great, film is great. They can look similar, they can look different. When I can’t afford film, I choose Alexa. I think the medium choice is different enough to warrant discussion. I think what Steve does is interesting, if you’re Steve. I don’t really want to make digital look like film. Choose the medium that works for you.
  10. I just did the same type of test, and the results were about half of the manufactures published numbers. I agree that the photometric apps are optimistic. I would love to be able to rely on that data, but at this point, I can't.
  11. What I find is that inexperienced DP's, and often producers, feel the need to rent expensive LED fixtures. This may be useful in large scale applications where adjusting the lamps would be more costly because of rigging, or specific computer control is required. Mostly, on low budget featuers for television, this is not the case. On low budget features that I Gaff, I take a full tungsten cart, which the rental house is usually happy to give away, or near about. Most often I see the Skypannel or Litemat used in ways that a Leko, Dedo, or other similar source could be used, with a bounce, to produce the same effect and be much more controlled. Most of the time, the Skypannel is requested with full large softbox, dimmed to 1% on Tungsten setting. Then the crew is asked to dance it around. There are existing tungsten fixtures which can do this job faster, cheaper, and better. While I can't say that an investment in tungsten lamps is "worth it" in a business sense for profit return, I feel there is a great need for many young filmmakers to learn which tools can save them money and time. Something to be said about reinventing the wheel. You can invest in gear as you wish, but teaching people there is a better way, when blinded by shiny magic technology; that's difficult.
  12. Overexposing film is a good tool for general use if you want more density, usually never a bad practice. as for the lens, I’ve owned a few, and they were notorious for poor quality after all these years. They are pretty easy to disassemble and adjust.
  13. Hard lighting an interview. I am not as photo-ready as talent! Lit with 650s and 1k zip. No time for hair light. Photographed with the Blackmagic 4k pocket, and an old Nikon. The BTS photographer for this interview wanted me to light it which I did while also lighting the feature... which was very stressful. However, he wanted something different, so we went a little old-school. Final tweaks were with actual talent of course, and we took the wall down quite a bit in the end. The camera is too sensitive. Really wish we were shooting on a real 250 asa or slower, then we could play with tonality. The video is three RAW clips, followed by two different LUTs and a hand colored option.
  14. I want a Tungsten quartz halogen fresnel I can aim in any direction or orientation. i want an led that has the near infrared low wavelength spectrum covered.
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