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Matt Irwin

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About Matt Irwin

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  • Occupation
    Cinematographer
  • Location
    Los Angeles

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  • Website URL
    http://matt.irwincine.com
  1. Thanks David, yeah I'll try to work out a test somehow. I don't know if iPads are OLED.... I think the "retina" feature is purely resolution and glass.
  2. HI all, I'm just curious if anyone has shot an iPad on film and has encountered frequency sync issues. Any flicker / roll / etc? Do I need a video sync box? (can I even use one with an iPad....) The project I'm prepping is 2perf 35mm on Panaflex GII or Platinum and there is talk of iPad screens being built into some key set pieces.... I'd test if I had time and budget to, but..... Thanks in advance. Matt
  3. Thanks James, this helps a lot. I actually discovered the AC article on Killing Them Softly... very interesting. I'll have to check out Snow White.
  4. There doesn't seem to be much experience-based info floating around about 5230 500T... I'm just curious if anyone here has shot this this stock and can comment on it's look, grain, and the result that push/pull has on contrast, color, and grain. Anyone done full or partial skip bleach with it? Any other notables? I'm beginning to evaluate stocks for a project, and I'm wondering if I can get significantly different looks by mixing '30 with 5219 and playing with processing, since I'd need an ASA 500 stock for the entire project. Also, 5230 doesn't seem to bear the Vision label... is this a DI-minded stock or something else? Cheers,
  5. Hi, I was just curious if anyone has run into tungsten balanced LED sources that actually mix seamlessly with normal tungsten and 3200 kino tubes. I've run into a variety of options- Litepanels, lowel, most recently LiteRibbon- and while LiteRibbon looked really nice with some 1/4 MG, they all look like garbage when compared to honest tungsten. LED tech improves 200% every 18 months, so just curious if there are any latest/greatest tools out there. I understand that the B&M's MacTech tubes are near perfect, and those new Mole sources are the same... but I'm looking for something very compact, hideable, and battery powered. Cheers,
  6. Probably window light of some form like mentioned above, but if you're curious about your attached image only... It could be as simple as a kino flo through 4x4 diffusion (opal, 250) directly to camera right of the actor maybe 6' or more and slightly upstage from camera.
  7. Another vote here for makeup being absolutely, positively critical. Jon's suggestion of a soft source over the lens is a good one. 4X4 diffusion is also a good idea on top of that. If you want to accentuate the cheek bones and/or elongate the face, bring in 4x4 black / negative fill directly to the sides of the talent, as close as possible (if in a wider, use 6x or 8x). If you want to reduce the shadow under the chin and/or bring out more color in the eyes, try a 4x8 or 4x4 bead board flat under their chest (as if they are right up against a table) and play with distance to taste.
  8. Depending on desired effect and area of coverage, I've used and seen used a few methods... -Bat strips or bat boxes with chicken wire bent around the top in a square shape, with diffusion of choice on top of the chicken wire. Wire for 3 different lines- one constant, two on dimmers. Alternate the bulb sizes within the channels, and place various degrees of cto, cts, red, or party oranges over different parts of the light. The effect is a very real simulation of firelight with wide color and intensity changes. Have the dimmer op randomize the flicker and do an occasional "bump" to create a hotter flare up. This works really well as a campfire souce, and 3-4 more would sell a big fire on a face. Also consider waving a small cutter in front of the light at random. -For really big coverage, 1-2 mini brutes with the switches gutted and each lamp wired into three dimmer channels. Shoot through 4x or larger diff or bounce. Have the grips make a few frames with 2" vertical strips of varying degrees of cto, cts, red, diffusion, and blackwrap- then have them wag the frames side to side in front of the lights but behind the diffusion. If in a close up, use it in front of the diffusion. -Literally a pile-o-china balls. Smaller than 24", each one on different dimmer line. It's a really ugly rig but it can work in a pinch and looks pretty good. Whatever the method, make sure you have a constant-on source in addition to the flicker. It can be really low level to accentuate the dips in light, or higher for a rolling flame, but it really helps the effect. I've also seen some really crazy dimmer rigs that use mercury switches, but that's a whole other topic...
  9. Done this as well and works perfectly. It's easier if the water is shallow like that and the lip is low (unlike an aquarium) because the effect is easier to spread out and the gear is easier to deal with.
  10. Be careful when running the 056WP directly from AB/V bricks. I own that monitor too and upon speaking with a TV Logic engineer, I learned that the true voltage limit is 15v. Often freshly charged bricks can run as high as 18-20V, which is enough to fry the monitor. Often you'll be ok, but there is a risk. Best to use a power regulated cable if coming from D-Tap, or if the brick is also powering a camera, pull the plug on the monitor and let the camera power up, then plug the monitor back in. I had a cable made with an inline 12v regulator that has a Fisher 3 to D-Tap jumper, so it can do either safely.
  11. Hi, Lubezki is known for using very big soft sources. From the looks of your frame lift here, my guess is something like a 12x12 bounce, high and just to camera right of center. There is also a good chance that the shape of the light is thanks to a window on the set that they are lighting through, again with a big soft source. You could probably achieve a similar result with a smaller (in size) source closer to the actor, but the eyelight will be sharper. That soft effect in the eye is thanks to something physically big with a little more distance from the face.... maybe 15-20'.
  12. Hi, It's between 320 and 640 depending on the curve you choose. Been a while for me, but I remember Cine 2 working out to roughly 400 and Cine 4 roughly 640 -- this of course being at 0db, all other image settings at default. Matt
  13. $5000 obo Comes with Petrol / 16x9 bag.
  14. Located in Los Angeles, local in person transaction preferred but I will ship. Sony EX-1 Body - 617 system hours All original accessories / cables / charger / etc Westside AV "Olof" Plate (reinforced bottom plate with extra 3/8 & 1/4-20 taps) "EX-FLAT" additional cold shoe mount installed (stock mic mount also included) 2 - 8GB SxS Cards 1 - Small Sony EX battery 1 - Large Sony EX battery 3 - Swit SU80 EX batteries w/ D-Tap power port for 12v accessories Dolgin TC-200 2-position battery charger Schneider IR CUT 486 Filter 77mm Asking $6000 Contact matt (at) irwincine (dot) com
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