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Jacob Mitchell

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About Jacob Mitchell

  • Birthday May 24

Profile Information

  • Occupation
    Cinematographer
  • Location
    Los Angeles
  • Specialties
    Cinematography, 35mm and 16mm, Red and Arri Cameras, Underwater Operating

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  • Website URL
    www.jakelmitchell.com

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  1. really love how this looks, let us know if you figure out a solution!
  2. Really depends on the work you do specifically, for me in cinema it’s PL mount and nothing else. Something to consider is how adaptable a mount is, for example a lot of the newer small cinema cameras are opting for an RF mount, as it can adapt very easily to Sony, EF, PL, ETC.
  3. I did find some 4mm c-mount lenses out there, but haven’t seen any samples of its use on super 8. You will probably need some trial and error to find out the right combination.
  4. This is a tough one. I imagine you would first need a super 8 camera that has an interchangeable lens like the Beaulieu or Leicina, which is c-mount, but I don’t know of any super wide Super8 lenses. A 6mm is probably easy to find but wider than that I’m not sure. Also you could maybe get a wide attachment, the 310xl and 514xl have a wide lens attachment element.
  5. Questions I wish I had the answers to. Wasn't the most friendly projection team unfortunately. But, it was a rear projection setup that was pre-recorded footage from out in the world, what I saw in the monitor was not the same as what I saw in my eye. To the eye it looked perfectly smooth. Almost like the hertz refresh rate was causing the problem for camera. Camera was on battery power. Thats about all the answers I have.
  6. Hi all, I recently shot with my first rear projection screen, and not until we were shooting did I notice a feeling of “lag” or “drag” in what was being projected. Talent was directly up against the screen, with top down footage of ocean waves going by. I felt a very, very subtle stutter in the footage that was not perceivable by eye. Unfortunately this was an incredibly rushed setup so did not have time to ask for specs/adjustments. Could anyone advise as to what may cause this, and what solutions may exist?
  7. Thought I would share this, its a very interesting new product from Arri meant to be thrown on the back of the signature primes. https://www.arri.com/en/camera-systems/cine-lenses/impression-filters?fbclid=IwAR3nr23nZQa02wQQ1fg1uP_NZ7OOqCWrJ-QPzqLc7DyUX-su36Duy6s-Cjs#accordion-308342 Fun to see stuff like this, makes sense with how much of a craze lens tuning has been these past couple years. Nice to have a range of strengths though that you can decided on on set as opposed to being locked into one strength. Oddly enough the Alexa mini was not included as being compatible with them, while the large format cameras, classic and SXT are.
  8. Super interesting. I feel like there’s probably next to 0 information about this on the internet, maybe contact Visual Products, Alan Gordon, or Duclos lenses, they may have a good idea. There are a large amount of rear-adapted zoom lenses from over the years, I’d guess it’s from something other than Cooke or Angenieux.
  9. Howdy all, I'm curious to hear people's personal experiences when joining Local 600 as a DP. I'm currently a non-union DP in LA and doing well focusing solely on that, but I'm getting sore working with lower budget, non-union productions and wish to orient and guide myself in the right direction. I realize that joining the union will not bring me more work and magically make everything wonderful. I'm particularly curios to hear: What made joining the union seem like the right choice? What were the signs? Did you feel like you joined too early? Too late? Is there anything crucial someone trying to get on the path to the union should know?
  10. If you're really bold, you can build out a standard fish tank. I've done this on two recent productions and it went super well. Just a bit of a nail biter and takes some prep: Using a sizable fish tank, I got some clear vinyl tarp, cut it up, and velcro'd it over the top for a splash guard. It was secured over the edges of the tank so even if the fish tank was fully submerged from a fall, it would likely survive with a few drops getting in. Then, I secured a suction cup shower handle, made for elderly, to the side to act as a solid contact point. I usually press the rest of the tank against my body for nice control of the tank. Two crucial points for imaging - placing the tank in the water you will be shooting in 10 minutes ahead, to prevent fogging, and definitely having a matte box on your build. The matte box, usually oriented vertically, will prevent odd reflections/ghosting on the image. Everything needs to be snug in the fish tank so the camera isn't moving around when you can't make any adjustments, so getting the onboard monitor pressed up against the glass and additionally a towel inside to keep it snug is nice. Also, make sure you have a spotter in the water, I do a sort of leap frog system with them, passing the camera off, so we're never actually taking steps with it, just pivoting around. And we had water shoes on to prevent any painful rocks from making us trip up. Finally, build your camera with the fish tank during the prep day, to see if you need any special battery plates to make it all fit. And, you'll need wireless focus and video. AND a run stop cable so your AC can cut and roll for you.
  11. I feel like any Arri cameras other than the minis/35 are going to be very limiting for you in terms of low light - not to mention the sheer weight. Even on the Alexa mini you're hard pressed for resolution to get high frame rates, and while they perform well in low light, thats not quite what they're built for. The gemini was originally made for the SpaceX launches, so low light is their bread and butter, while also being light weight and affordable. The dual iso is really useful. Additionally, high speed has always been a strength of RED in my opinion, having options like 480 frames down at 2k on some cameras. Now, anytime you're buying an older DSMC camera it feels like a ticking time bomb in terms of shelf life, obviously some exceptional cases are there of some epic MXs still surviving, but the real measure is that RED will begin refusing service of older cameras, making them paper weights. Not a big deal, but something to keep in mind as an investment. I'm sure the prices on these are a good deal right now. In terms of matching, really anything shot with proper exposure, a chip chart, and a good colorist can be matched. Doesn't fully contend with the Gemini, but the BMD pocket 6k is exceptional in low light, and I love their new color science. However, your 120 fps will be at 2.8k. Maybe a budget option.
  12. You really should have some sort of splash bag or surface level submersible kit on it. This sounds like a big risk especially with the nature of the action, and while there isn’t a current, a river floor is anything but stable. All it takes is one loose rock to step on. I would check out the Air Land Sea splashbags. They’re really lowkey and simple to build and aren’t horrendous on budget.
  13. Thank you everyone for the pointers! I would be curious to have everyone's thoughts on this, shot on 35mm Ektachrome Print stock! Also, Karim, that print 35mm looks incredible, I'll have to buy some.
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