Jump to content

Jacob Mitchell

Basic Member
  • Content Count

  • Joined

  • Last visited

Community Reputation

1 Neutral

About Jacob Mitchell

  • Rank

  • Birthday May 24

Profile Information

  • Occupation
  • Location
    Los Angeles
  • My Gear
    Red Epic-MX
  • Specialties
    Cinematography, Ronin Operator, Red Cameras, Drone builder and operator, Assistant Camera

Contact Methods

  • Website URL
  1. Yeah the arri mags are an absolute breeze! Also is the intermittent mechanism on the XTR different? I heard somewhere that it doesn't have a registration pin like the SR.
  2. Hey all! Shooting a small music video on S16 soon, and wondering what everyone's thoughts are on the Aaton XTR vs. SR3 vs. 416. What are the advantages and disadvantages of each when compared against eachother? I'm seeing XTR packages are almost half the price of the SR3, and our budget is tiny so I'm trying to see what I'm giving up for the cheaper price.
  3. Hi all! I'm interested in pairing the Zeiss CP2 lenses with the Arriflex SR1. Will the flange depth on the CP2s be a able to work with the SR? Is it possible to pair these two? Thank you!
  4. Hey everyone! Wanted to open up a discussion of the subliminal effects on an audience/contrasted moods that are conveyed in a push in versus a pull out. I've been thinking a lot about them lately, and of course there's the typical application of these shots opening/ending scenes in a very traditional matter. What does everyone think about these shots from a mood building and emotional point of view?
  5. Love the link Macks... wonderful example where it clearly has the film look, but isn't distracting to the viewer. Here's actually a short that I am really looking to emulate... has the perfect balance between "grungy" yet not distracting
  6. Wow Tyler! That is damn crisp... almost looks like 35mm 2-perf and not 16mm! How did you achieve such an image? The exposures are absolutely spot on.
  7. Hi all! I'm starting work on my thesis at Emerson college, and would like some tips/general exposure advice for 16mm. I 100% plan on shooting on film for my thesis this coming year, and have been researching into different stocks, prices, cameras, etc. I have shot with 16mm for one short in the past, and really loved how it came out. However, my main grievance is the sometimes over-softness and over-grittiness of 16mm, and it seems this often happens when pushing the stock too far with underexposure. Can I get some advice as to getting the most pristine/sharp image with 16mm? How does the camera system effect its clarity? Are there certain categories of lenses I should stay away from? How should I treat exposure with film to get the most "grainless" image?
  8. Hi all, I'm starting prep work for my college thesis at Emerson and I'm researching into the different challenges with shooting the project on film. I'm particularly thinking 16mm, just for budgetary reasons, and can't seem to find a Super 16mm camera that shoots up to 300 fps other than scientific/military cameras. The film is about a track athlete, so I'm wanting to get some very beautiful, frozen moment shots of our talent running. Does anyone know of any cameras that shoot as high as 300 fps? I see most of the HS cameras from Arri only go up to 150 fps. Thanks!
  9. Hi all, I am hoping to get some Cam PA gigs while out in LA for the semester and was just wondering what everyone's perception is of the Camera PA. What are their duties/responsibilities? What is expected of them? Was just looking for some outside input to know what to bring to the table. I imagine it's nothing glorious, and with a good 1st and 2nd, I could see a lot of standing around waiting to help being a reality. Thanks!
  10. Thanks everyone. Very helpful information. How is one able to get inside the globe housing? What are “steaks and tips”
  11. Hey all, This has been a question I've had for a while. Are there a specific type of globe/light source that is commonly used to replace practical bulbs? I.e. If you're trying to reach a certain exposure, and want to use practicals, where could one find an assortment of different globes to reach a certain light level? Thanks!
  12. Hey everyone, Ill be heading to LA soon for a semester at Emerson College, and Im one part terrified, one part very excited. My goal is to make as big a splash I can, and attempt to land a few gigs as a Cam PA, 2nd AC, Cam op, and hopefully, DP. In a most ideal scenario, I hope to gain enough momentum to take a semester off in LA just for jobs. So, my main question is: What are some things I can work towards to get my name out there and get jobs? I have a good understanding of marketing oneself and have pieced together a strategy from pure logic, but what has everyones experience been?
  13. Thanks for the knowledge everyone!! I love hearing the science and chemistry behind everything.
  14. Hey all, I was recently drafting my personal contract which I was taking from Imagos template contract for DPs. Here is the template: https://www.imago.org/images/pdfs/CINEMATOGRAPHERS/MODEL%20CONTRACT%20FOR%20AUTHORSHIP%20-%20version.22.01.08.pdf . In article 7.2, its speaks to Copyright Collective Socities. I understand the purpose of these copyright collectives, but after some searching, did not find any socities of note in America that cover motion picture professionals. Since this is from Imago, are these Socities more common in Europe than America? Does anyone have any more info on joining a Copyright collective?
  15. Hey all! Just finished the ASC Manual and there are a few spots that speak about "Ground Glass". From what I've collected, it seems to be a piece of glass that works between the gate and the reflex and often includes different aspect ratio guides? Can anyone give me a clearer definition? Thanks, Jake
  • Create New...