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jon w

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About jon w

  • Birthday 01/16/1975

Profile Information

  • Occupation
    Cinematographer
  • Location
    Vancouver

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  • Website URL
    http://
  1. been searching the archives, but cant find out if you can record dv to dv tapes, (if you dont want to use a p2 card). thanks!
  2. hello, a few months back i shot a documentry with this camera. i noticed the camera would automaticly compensate its exposure when there were very bright areas in frame, even when it was in full manual mode, with the controls on "hold/lock". the fstop indicator wouldnt change (i dont think), but you would see the image darken. i remember i did something to prevent this, but cant remember what? i have a friend whos a quarter way through a feature, and she called me freaking out because the cameras exposure has a mind of its own. does anyone know what im talking about? or specificley how to fix it?
  3. "The problem with placing a light at the end of the hallway is that there's not a lot of space outside that door to work with. The artist will be making his entrance through that door, which will be tented, because we'll be shooting day for night. It's not a bad idea, and if I convince the director that the artist doesn't have to enter through that door, then I can probably make a 1.2 HMI Par work." does it all have to be in one shot? could you shoot the entrance through the door into the hallway in one shot, then the rest walking down the hallway as a seperate setup?
  4. i read a book a few years ago called "everything i want to know about filmmaking, i learnt from the toxic avenger". it was all about the low budget techniques making troma movies. i remember it saying that for reverse action (before computer, and i guess without the budget for a camera that runs in reverse), they would shoot the shot with the camera upside down, then flip the actual negative upside down, resulting in backwards / rightside up footage. makes sence in my head, but i think the shot would be a bit out of focus.
  5. The cool thing about this board is that the members range from students to working proffesionals (and everything inbetween). myself in the mid to lower part of the catagory. still shooting a lot of free stuff to build my reel / experience. which means that for a while i'll be working with directors that are fairly new. this is frustrating because no matter how much work you put in, and how great the footage is, if anyone else in the chain isnt up to par, the whole project suffers. there are a dozen shorts out there that i shot, that i would never show to anyone because of how bad they are, even if im proud of how they look! depressing and discouraging. my hope is that once more established, i'll be working with with directors (and everyone else) that are more established, and everything will be ok. i want to learn from the director, and feel confident in him/her, but its hard at this stage of the game.
  6. ok, i give up on posting pictures. why doesnt it work!!!!!!!!!
  7. here is a frame from a recent music video. super simple lighting, but was happy with it. the walls were blue, so i shot 5246 daylight balanced film which neutralized the blue. she is lit really frontal, kino above and below camera, 5600. a kino behind each curtain in the back 3200 with half ctb to still keep them warm. and a china ball with a 3200 bulb over by the candles. thats it.
  8. WALKABOUT directed and shot by nicholas rouge... dont think ive ever gasped about shots so many times.
  9. dont think my attachments are attatching???
  10. i recently shot a music video with my 1m (7m), most of the lenses aren't in the greatest shape, but i was blown away when i saw the footage!!! the colorist couldnt believe that it came out of a $700.00 camera! these frame grabs are low resolution (dv)
  11. i know that this topic has been discused many times, but i would like to understand technically. lets say you shoot uncorrected tungsten film outside... you get your blue image, you decide that you want to correct it in post because your film will stay on tape/dvd. now i understand that this is somewhat feasable, but not optimal, and that you will have an OVEREXPOSED BLUE LAYER in your film.... can someone talk about certain layeres being over exposed? how it affects the highlights to shadows, the rest of the image / colors? i appologize if this is a stupid questions, i just like to fully understand why things happen instead of just knowing that they do happen.
  12. ya, the problem with any kind of backlight is the size of the room / low celings. in a wide shot the camera will see the walls and celings. :( thats why the chinese dividers, backlit...
  13. hello all, shooting an ultra low/no budget music video this weekend, it was just thrown at me, so i have zero prep time. just saw the location we have to shoot in, basment suite rectange area about 40 feet by 20ish feet with 7 foot high celings, no useful windows, yikes! the singer has 9 backup dancers, they all dance as couples, so its more like 4 single people spread out behind the main singer. the problem is that with the wide shots, everything (celings) will be in frame... ive sugested we use backlit chinese dividers behind for some seperation, lighting will be soft, but somehwhat lowkey (night). so i need a soft light source that will travel some distance, and im figuring kinos wont travel that far... i thought a big frame of diffusion further back with a larger source, but im worried that if i get it far enough back to get a decent fall off, i'll be fighting with camera shadows... any thoughts, bouncing light of foamcore on the celing? i dont want this to look like a sitcom... shooting on fugi 250T 16mm/35mm
  14. i dont have the exact specs, but audiris is correct about the cross proccessing and anamorphic. i also remember shift and tilt lenses.
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