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Landon Hill

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  • Occupation
  • Location
    Salt Lake City
  • Specialties
    Gaffer and Cinematographer
  1. There is a source below the bookshelf and one above the desk to motivate the warm practical on the desk. Like David said, looks to be something like Steel Blue or Cyan which are some of my favorite gels. It also looks like the moonlight coming from camera left is inside the room, but backed up.
  2. Not sure what exact dolly you are talking about, but I've done it with an Alexa on a smaller table top dolly and didn't seem to have any problems getting any smooth shots. I imagine it wouldn't be much different with a DSLR other than the weight factor.
  3. If you are going for overall evenness in the color of your lighting, then match all your sources to the existing factory lights. Tungsten sources with CTB with +green and daylight tubes in the kinos with +green. The amount of green will depend, but if it's green as it looks in the photo, my guess would be anything from 1/2-full +green. Then you can remove any green cast and correct your color in post if you wish.
  4. The production design plays a big part into this. The walls in the church are all white, which makes it seem brighter. If you have 4k HMIs you can place them inside and bounce them to bring the levels up even more, but you aren't going to get the same look as the church above because the color palate is so dark.
  5. I guess I should add that I'll be doing a couple other crew positions as well. I am an experienced grip and electric swing so I'm not worried about any of that, but I'll probably be pulling focus among other things. It'll be a very small crew with minimal locations. Mostly interior, so I can probably get away with only a few smaller lights and maybe a shiny board or two. I've done features with a rate lower than $200/day so I'm not really worried about it since it's only two weeks. I'll be getting all the lighting equipment from a really good friend who owns two 10 ton grip and lighting packages, and he gives me a really good deal every time I rent from him, so we will be able to save money that way.
  6. I couldn't find any specific post about this. In May I will be gaffing a feature with about 12 shooting days with a budget around $30,000. I've worked for this director before on a bigger budget feature, but only as an AC. He always pays on time. I'll be working on the film no matter the rate, because principal photography isn't that long, because I want to continue to work with him, and his features keep getting more and more budget (John Debney just scored his last feature, the one I worked on). But he's just doing this one for fun. What would I charge for my day rate as gaffer with a budget like this? Any help or input would be appreciated. This would be in addition to any equipment rentals.
  7. It's a great little tool. I rigged some in the ceiling and it's really helpful to change the intensity/color temperature without having to actually go and change it on the actual fixture. Saved us a lot of time! Last time I used it, it didn't have any effects capabilities, but that was several months ago, this very well could have changed.
  8. Hey everybody. This is my first post :) I wanted to get everyone's opinion on the lighting for this scene, and how Janusz Kaminski may have accomplished it.
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