Sam Oddo
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Everything posted by Sam Oddo
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Hey Jon, Thanks for the input: When you say "don't light to 70 IRE" were you referring to the specular highlights on the skin hitting 70? I'll be filming with the A7sII... I was planning on filming in a Rec709 space, but was also playing with the idea of shooting in SLog. Can you go into exposure tips a bit more for me? -Sam
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Thanks Guys, I was planning on using a combination of hard light (maybe the Joker with a fresnel lens for a nice crisp edge) and soft light (Kinos to provide a key that wraps around the face) to light the subject. AJ, I was thinking about using the butterfly approach with the Kinos... Do you think that will play well? The other concern I have is with movement, such as lighting an individual who has a strong vertical movement (i.e. pull-ups). Any suggestions here, especially because I don't really have any large light sources? I will mostly be shooting at 24fps (180 degree shutter) at 4k. I was planning on doing a few pickup shots in 60 fps as well, but probably nothing slower than that. I am still working out the iso: If I shoot Rec709, I'll just try to keep it as low as possible, but if I shoot SLog I will keep the iso native at 1600 (and use NDs if necessary). -Sam
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Hey Guys, I have to shoot a spot for a CrossFit gym in the near future, and was looking for any lighting recommendations. We want to achieve a feel similar to this Reebok campaign as far as framing, camera movement and editing: https://youtu.be/UDb-7DY3CjU As far as lighting, the Director wants this to look relatively dramatic with a darker background, nice edge lights etc (please reference photo). The talent we will be filming is a woman (about 40y/o). Any recommendations on lighting a woman in a dramatic, but flattering way? I don't have any pictures of the space that I can share, but it has a series of ceiling-mounted Fluorescent lights, no windows, and a large barn door that we can open to add some daylight fill. I was planning on opening the barn door, turning off the ceiling lights and going full daylight. As far as lighting that I have access to: Joker 800, Kino Kit (one 4 bank, two 2 banks), Arri Kit (two 150s, one 300, one 650, one 750, one 1k). I also have gels and c-stands, flags etc. -Sam
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Thanks Guys! Justin, I thought that was how it went down, but I wasn't sure! -Sam
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Hey Guys, This may be a very dumb question, but how does apple film their app and iPhone commercials without the hands shaking while holding the device? Here is an example: https://www.youtube.com/watch?v=szrsfeyLzyg At first I thought they utilized two separate layers, one for the hand holding the device and one for the finger swiping, and comped the two together. The layer with the hand holding the device almost appeared to be a still image, but what confused me was that I saw shadow movement on it when the finger swipes... Do they have a rig attached to the phone to keep it steady or stabilize the footage in post? Do they green screen and then comp? -Sam
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That helps a lot, thanks!
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Thanks David! I have a reasonable proficiency in After Effects, and feel that I could adequately composite several elements together: I just wasn't sure of how to actually film it. I see your point with the "head-to-toe" compositing issue; however (referencing the attached still), could I just use backplates that obscure the individuals feet to get around that? Would you also know how to film a person on green screen in such a way as they blend (in terms of height/angle etc.) with background elements like a building or mountain? -Sam
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Hey Guys, I don't really have a vfx background, and it would be fantastic if you could help me out! Attached below is a still (and a link to a video) of what I am trying to achieve. I'm looking to shoot a music video that uses forced perspective (mainly band performance stuff), and I am not quite sure how to go about making it look right. To give a little more context, I'll be shooting with an A7sII camera. My questions are as follows: 1) Did they use a green screen for the people? 2) How do you make the person match with their background? I know lighting is a huge part of it, but I'm referring more to field of video, camera angles etc. Is there an equation that involves the height of the person/building, camera focal length etc. 3) Some of the shots in the video are moving... Is this a fake camera move done in post? Was there a lot of compositing involved? Can this be done practically without heavy post work? 4) I've read that if you're trying to make a person look large, you should film them in slow motion to give the illusion of a large body moving. My question here is with my camera's sensor constraints: I would like to shoot the back plate in 4k for maximum sharpness and better grading (shot full frame), but if I film the individual in slow motion, I'd be working with the equivalent of a super 35 sensor. How can I reconcile the two images to make sure that they visually match? 5) Say I shoot a scene that is back lit: I would have to incorporate the shadow of the person in the shot. Any tips? 6) I need to do this on a small budget: Any tips on achieving a good product cheaply would be greatly appreciated! I know I asked a lot of questions, but I'm having a difficult time finding the information I need online. Thanks for your help! -Sam Link to video:
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Hello Cinema Community! I have a music video client who would like psychedelic images in her music video: Options include fractals, light prism effects, kaleidoscopic imagery etc. I am curious, is anyone aware of practical solutions to achieving an end result similar to what I listed above? I realize that I could achieve much of this via a program like After Effects; however, I am curious if doing something like this practically would produce something more organic. If anyone has any experience with this, it would be great to know what methods you used, in addition to seeing visual references of the end result. Lastly, this project is on a shoe string budget!
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Hey Guys, I'm an aspiring cinematographer and I am wondering how best to spend my money to invest in this field. At first, I was dead sent on buying on new camera (looking at the A7s II or the Ursa Mini); however, I have now begun to consider investing in lighting equipment, and opting to rent a camera whenever the need arises. Basically I'm torn: For $3,000 I could buy just a camera body, or I could get an Arri lighting package (x2 150w, 300w, 650w, 1k) and two 4' 2-bank kino lights w/ ballasts off of Ebay. My questions are: Can anyone provide insight into what would be the best and most beneficial course of action? I also have another question based off of the Kino lights: is the output of a 4' 2-bank Kino the same as the output of a 2' 4-bank Kino? What are the benefits to either or? Lastly, is there a better investment I could make that isn't a camera or lighting equipment? Thanks again, and any insight will be greatly appreciated! -Sam
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Hey Phil, I was thinking one zoom for $4,000... or the best option within a few thousand dollars of that mark.
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Ok, given a budget of $4,000 (or less) per lens, what zooms would you fellas recommend?
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Satsuki, What lens options would you utilize for run-n-gun and interviews?
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Thanks for your suggestions: I have been looking at the Ursa Mini for myself, but I feel that the cost of CFast cards may turn-off management. One camera that keeps coming up in discussion is the Sony A7s II. Any thoughts on this system compared to the others? One thing the is a prominent consideration is a camera system that- if required- can shoot in a format that requires minimal post-processing for fast turn-around. Thanks, Sam
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I'm thinking it would be nice to have upgraded primes in a wide and medium (normal) focal length, while reserving a high quality zoom for the telephoto range. Any thoughts between cine and still lenses? I'm currently exploring Zeiss CP.2s, Canon CN-Es and Schneider Xenons.
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Hey Satsuki, All of my lenses are pretty fast (f1.4-2). Also, I have a good focal range (24mm; 30mm; 50mm; 85mm; 70-200mm). I guess I'm really just looking for an upgrade in mechanics/build quality, less lens breathing, and definitely more sharpness and natural contrast. I'm pitching the new purchase to my boss; however, I don't see us spending more than $4,000 per lens.
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Hey Guys, I'm currently working for a production company that is looking to upgrade camera systems. We really want to take our visual quality to the next level here. Right now- depending on the client- we utilize either FS100's for run-n-gun type work, in addition to GH4s for more corporate 4k stuff. Can anyone recommend a suitable upgrade to what we have? Let's say our budget (we are looking for an upgraded pair) is anywhere from $2-8,000 per camera. It would be great if you could provide a gradient of options! Right now, our main prospect is the Sony A7s II. Thanks! Sam
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Hey Guys, I'm looking to increase the visual quality of my work by upgrading glass. Right now, I'm primarily working with Canon stills glass (24mm, 50mm, 85mm, 70-200mm), but i want to get a new lens set to take me to the next level. Just for discussions sake, my budget for each lens would be anywhere from $2-5,000. Do you guys have any suggestions? I'm open to either primes or zooms. Thanks, Sam
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Hey Guys, I've been tasked to pull focus for a short film that consists of one 12-minute Steadicam shot. The director wants to use only natural light and practicals, in addition to shooting wide open on an Arri/Zeiss Master Prime 18 mm lens. Do you guys have any suggestions on how I can achieve the best results? Thanks Sam
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Thanks Guys, I think I might end up going with the Master Prime series at a 18, 35 and 50 mm. Do you guys think it is wise to pay the extra $$ to get a telephoto? I don't envision using one very much. Also, does anyone have a preference over a 32 vs. 35 mm? Lastly, David mentioned using wider lenses on a 2.40:1 aspect ratio to compensate for the narrower vertical view: Any opinions?
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Which Cookes were you referring to? Im not sure vintage glass will be a viable option for us
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David, Thank you for the detailed response. The director wants this feature shot in as much natural light as possible and to give it a soft, dreamy feel... that, in combination with the great reputation of the master primes is why he chose them.
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Matt, Without going into too many details, the short film is about a relationship between a father and his terminal daughter. I want the style to feel very personal and intimate, and at the same time very realistic. As for the budget, I am unsure: Essentially, we have our minds set on the Master Primes, but not on the focal lengths. --David, Did Lubezki primarily use the 18 mm? How versatile do you think this focal length is?
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Hey Guys, I have been recently hired to shoot a short feature and have been asked for my preference in lens selection. The director wants to shoot on Arri/Zeiss Master Primes (T1.3) on a Sony F5 camera system. Would you have any recommendations on focal lengths? In regard to the production, there will be mostly interiors with a few exterior moments, the story is very personal among the few characters involved, and the director is using Emmanel Lubezki as a primary visual influence. I was personally thinking of just a 35, 50 and 85mm set... Thanks! Sam
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Hey Guys, I was contacted several days ago to DP a short feature and was sent the script; however, I had a few questions: Is it bad industry practice to suggest changes in the script? After reading through it several times, I believe that some changes in dialogue etc. would really improve the overall story, but I'm hesitant to suggest changes to the director. Also, could you walk me through your personal processes as cinematographer when evaluating scripts (subtext, emotional analysis etc.) before production. Thanks, Sam
