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Dominik Bauch

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Posts posted by Dominik Bauch

  1. 8 hours ago, Gregory Irwin said:

    I was Jeffrey Kimball’s First AC on many shows. He had 3 large cases of filters of every kind. As for the grads, he owned all 6x6 filters. Sunset, various colored grads, and many that Sat mentioned above. We ACs we’re always in filter hell with him. But I absolutely love the man. Jeffrey is pretty much retired now but had a rich, visual style that was all his own. He’s a real gentleman. 


    Wow, what an amazing experience. Thanks for the insight. 
    Definitely a lost art form, people rely too much on post / power windows these days. Nothing like shooting film and throwing a baked in color grad filter on top.... nerves of steel!

  2. Thanks, I'll take a look at those. 

    I guess 6x6 is the way to go, 4x5.65 horizontal doesn't give much room to repo vertically but who outside a big rental house can carry 2 matte boxes...

    I wish there was more behind the scenes details for those Tony Scott movies, it's such a great look. Cinematography today is getting too clean and perfect. 

  3. When shooting anamorphic, are vertical grad filters or standard horizontal ones best to use? 

    Does anyone know what grad filters Jeffrey Kimball used on Tony Scott movies (Top Gun, Beverly Hills Cop 2)? 
    I’ve seen a thread here where Claudio Miranda says Sunset filters were a go to for Scott on later movies but which manufacturer? Lee and Tiffen’s are very different...
    Back in the 80s what manufacturers made grad filters? 

  4. I have two choices for dolly wheels (small platform dolly with around 100lbs of weight including Bazooka & camera package)

    Go kart wheels or double pneumatic wheels (i.e. 2 on each corner).

    On normal surfaces, wood floors, concrete, tiled floors (i.e. no off road or major cracks / bumps), which wheels tend to be more stable and give smoother results given these conditions?

    Any advice really appreciated.

  5. I have an option to round out a rental set of Cooke anamorphic i primes (32, 40, 50, 75, 100, 180) with either a 65mm macro or 135mm.

    To me the 65mm isn't really a big magnification and as I have a 50mm and 75mm in the set, I can just add a diopter and get similar results (albeit with some chromatic aberration around the edges but that can be nice at times and take the digital edge off.) I get that I can't focus to infinity but the weight penalty of this large lens leads me to be happier with adding diopters to regular primes. Am I missing something here as others have talked about the 65mm being special....?

    I'm leaning towards the 135mm as that's a built in close up lens, 100mm not quite there without a diopter and 180 is a little too tight. 

    Looking for advice from anyone who has used these lenses a lot. Thanks!


  6. Thanks Tristan.

    Had a thought to try a hihat on a wooden board and use ratchet straps to secure the x, y & z axes. Possibly raising the board on apple boxes or something else solid. Unfortunately legit grip techniques are beyond my budget... 

  7. Never worked with car mounts before, any help greatly appreciated. I'll be working with a roughly 40lb camera set up.

    Is the Matthews Brauer hostess tray solid enough? i.e. on Los Angeles roads... will it hold up well without jostling around. Ideally it's locked to the movement of the car. Is this the case?

    How about mounting in the back seat of the car, what's the easiest way to hard mount a camera for an OTS driver shot?


  8. I like the look of the Proaim Spin Dolly. I can’t find any reviews online so I’m wondering about the quality and how well it actually works. Smoothness etc.

    Is the bazooka system stable? I plan to use roughly a 45lb payload. Wondering if there’s any flex or wobble with the Telescopic bazooka.

    Any experience or feedback on proaim dollys in general would be really appreciated. 

  9. I'm thinking of using incandescent string lights like these for a shoot:


    Anyone used similar and have any tips on the best kind to get. They will be used in a 2 car garage, so I don't want the light to overpower the room, more of an accent with the added benefit that they will cast some ambient light around. Going for a moody, low key look overall. Definitely don't intend to have them everywhere. 


  10. 20 hours ago, Dom Jaeger said:

    This is the sort of thing “detuning” accomplishes, which is something Panavision have been doing for a number of years now, and other large rental companies like Arri Rental are starting to get more into. Adjusting another lens to more closely match a C series for example is exactly what Panavision have spent those years trying to perfect.

    You can alter all sorts of aspects of how a lens renders an image, including the bokeh, but it’s very much a lens by lens process. Panavision guard their many detuning recipes quite closely, so you won’t get any how-to guides from me, but some of the ways you can alter bokeh include adjusting element spacings and coatings, internal masking or filtration and adding or replacing elements. 

    Thanks, this is what I was thinking. Are there any good independent companies in LA experienced in modifying anamorphic lenses? 

  11. Disclaimer: I have no idea about lens mechanics...

    In theory if you have a set of lenses that have very smooth bokeh but you wanted a more painterly, 'harsh' bokeh, i.e. similar to a Panavision C series where the out of focus areas seem to have more texture than with other lenses. How would you go about achieving this, is this a simple tweak or an entire redesign? I'm not talking about introducing noise or chromatic aberration.

  12. Looking into renting a set of anamorphic primes for a job. 32, 40, 50, 75, 100 are included but I've been given a choice of 135mm or 180mm to round off the set.

    I love the hyper stylized extreme separation that long anamorphic lenses produce; that very distorted out of focus BG bokeh feels super cinematic to me. I'm leaning towards the 180mm as I feel the 135 will be not all that different from 100mm but the 180mm has a chance to look very interesting and different. I've never used either lens before so, min. focus issues aside, in real world shooting (scripted interior / exterior) does anyone have any thoughts as to which would be the most useful / interesting? 

  13. I did some camera tests for a project and generally 48fps was liked but my co-director felt it might be a little too dreamy and suggested 36fps.

    I’ve never shot this frame rate. Any considerations or issues that might arise as it’s not a direct multiple of 24? 

  14. Thanks all for the tips, so what's the best work flow for anamorphic?

    Set 5D to 16x9, match horizontal FOV for full frame lenses to the anamorphic focal lengths I'll be using and then apply a 2.39 mask in PS on the output jpegs? Rough for sure but at least the horizontal FOV should be close.

    Is there a more accurate way to approach this?

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