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Hannah Getz

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About Hannah Getz

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    Cinematographer
  1. I have a short coming up where I'll be shooting in a subway car standing set. I need to accomplish two things: a chase for the lights within the subway tunnel and a flicker of the overhead practicals. For the flicker I'd like to see the practicals themselves. Unfortunately I have yet to scout the set as production is a mess. This is a really low budget shoot so I need to figure out something crafty. My immediate thought for the practicals was to replace the existing units with Quasar or Astera tubes (especially since the Astera can be used wirelessly). The chase and the flicker will occur in the same scene. Any advice/ideas is greatly appreciated!
  2. We ended up being able to shoot night for night, which was a huge relief. That being said we only had two SkyPanels and an M18, but it was almost using the Varicam rated at 2500.
  3. I have the spectacular challenge, due to budget, of attempting to match day for night to our night for night footage. I have a feeling this will end up being a sad time in the DI where my night for night is graded to look more like day for night, but what can you do. My biggest concern is matching quality of light as best I can. I know the rule of thumb is generally to get some spots of day light light while avoiding the sky. Some of the matches will be for ECUs which I'm not as concerned with, but the wider matches are what I fear the most. Any and all suggestions are greatly appreciated! I've attached some ungraded lo res stills.
  4. Howdy! I'll being shooting handheld on trails and want to smooth out the inevitable shakes. I was hoping to us the Serene Arm with the Gravity One, but the rental house I'm using doesn't have the Gravity One currently. They've given me a Puppeteer but my understanding is that it is primarily for gimbals. So! My question is: Is there any way I can utilize the Puppeteer in a similar way to the Gravity One? Is there a different piece of gear I could use in conjunction with the EasyRig to smooth things out? I have to make the best of what I've got. Thanks!
  5. Thank you so much for these! I did a test the other day in an overcast environment and it turned out alright, colors and skintones were retained, however I'm not sure the grade was entirely convincing as night. Need to give it a whirl in full sun!
  6. Oh I wasn't going to show the skies, I just meant in regards to actual contrast to the spaces to sell the effect. I'll be testing today with lights and some color samples so we'll see!
  7. Yeah I'm a little discouraged about it all. They see it as a time saver but I'm not sure that will be the case. Though we could possibly use twilight for fire bits (and the flash lights). In all honesty it seems like a jumble. I also wonder if the skies being overcast, which is a real possibility, will kill the day for night effect all together.
  8. If, let's say, I have a good amount of tree cover over the subject, would it be possible to bounce something in to a gelled mirror board to create some kind of flicker effect? I guess even with that approach it's possible that whatever color gel I use will become significantly dulled in the grade... If they insist on day for night I think they'll have to comp the fire in which worries me.
  9. I'm about to start a feature and because of our schedule as well as dropping temperatures, the possibility of shooting day for night is becoming more and more real. My concern is that having red/orange light in the night scenes is extremely important to the director, but that the grade will suck all of that out. The source for the light is a campfire, but one of the characters will also be bloody and wearing a faded red jacket. I've seen the 40's/50's day for night scenes which have a lighter grade and thus more colors, but those seem to have been done because of the sheer expanse of the locations that needed to be seen. Cast Away is the best example of fire/red light I can find for day for night, however I have read that there were some VFX in those shots. While we do have access to a good VFX house, I want to be able to introduce red light practically as a baseline. One detail, we'll be shooting in the woods in California so I'll have limited generator power due to fire concerns. So essentially I am at a loss. Any advice is deeply appreciated.
  10. Yeah, I'll definitely be taking a more portable camera, but I suppose my biggest concern is having a compact package: body, lenses (though it may just end up being a zoom), support, and possibly a couple lil photo stands and 1x1 LED panels. I'm also curious what I should carry on and what can safely be checked. This is obviously my first time doing this so I want to make sure I have it all locked down so I don't encounter any surprises on the day. Another note: I'll be going to one country and then flying to another on a smaller airline. I have no idea how any of this works haha.
  11. I'll be traveling from LA to Berlin, Zurich, and then back to LA and I was curious if y'all could tell me about the restrictions/regulations of traveling with gear. I'm trying to put together a small camera package that can be put in to the overhead compartment, I know there's some business with lithium ion batteries so that's definitely a concern. Also, any recommendations for cameras of the 4K variety that are compact would be amazing. Thank you in advance!
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