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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. 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.
  2. 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.
  3. Hi all, Can't remember from where, but I've heard of the ability to shoot on print stock just as one would on regular motion picture stock, with the idea of having a very punchy and contrasty look. Does anyone have experience with this? Looking at the Kodak catalog, it seems print stock primarily comes in 2,000' rolls, which would make the process of downspooling a bit tedious...
  4. I am in awe of this!! Is that particular process camera still working?
  5. Eirik, Do you recall what type of bulbs were in the practicals? Were they CFL or normal Tungsten? When do you get your scans back? Worst case, if it is very minor, you can have your editor use the "Flicker Free" plug in. Its a very cheap one off purchase, and man, it has saved me so many times. Can remove some of the worst shutter flicker.
  6. I have never seen this lens before! Had no clue that Angenieux even made primes before their current set, especially for 16mm. Do you have any more info for this lens? Did you have a set of them?
  7. To start, I would focus on ways in which you can make lighting easier by using either low-light performing sensors and secondly lenses that are fast and can operate at low apertures while maintaining quality. I like to start the thought without restriction; say this was just one subject and closeup, how would you light it? Say you want to give everything some edge and definition with something harsh, you could use whatever background/midground out of frame to place some wide-lensed HMIs and simply give everything some depth. Then for your key maybe something very broad and soft to bring some attention to your subjects and keep things looking nice. Taking this idea further, in this situation I would say you'll need to approach it from a grip standpoint. With such a large scene, you'll need to maybe multiply the size and scale of everything you're using almost by a multiplier. More heads, more output, larger lengths of stands, etc. If possible, I'd look into using a cherrypicker, condors, what have you to place your key light or back light setup in a place where it has effect but at the same time is out of frame. Or if you don't need it that extreme, a max menace or normal menace arm. Or maybe it simply is too wide for that, and you'll need to designate one side of the set to pushing HMIs through a large 20x or booking through a large 20x. I always find in large scenes like this it is super helpful to have extra heads ready incase you incorrectly predict how strong a certain light is, or if you need to bring up little details of the scene here and there, etc. In summary, start from a theoretical point, thinking with no restriction in how you would light it. Then work further in understand how you can scale this up and what tools you may need to achieve this. Then, hopefully, see if its possible within budget!
  8. Dealt with this a lot, typically where I start is with a solid on a frame, whether that be 8x8 or 12x12 (make sure to get window measurements to determine this). I'll place this frame at about a 45 degree angle and shimmy it up as close as possible to the exterior of the building, leaving space for lighting. Then, I'll essentially create a giant floppy, by getting more solids of the appropriate size and simply tying one end to the edges of the existing frame and letting it drape down. Makes it easier than setting a million floppies. Big note, ANY little leak or gap in the blackout will show very easily. Gotta be pretty dilligent to cover it up tightly. Tape is always your friend in securing the edges of the rags to the exterior of the building. In terms of seeing out this window, I would suggest having either curtains or blinds atop the window to bring the attention away from the blackout and potentially hide any details seen in the rags outside. Also helps to flag off any spill from your heads outside to keep it off your blackout canopy. Now, it sounds like you may be adding diffusion onto the windows, which would probably be my next suggestion. Something like opal or Hampshire frost would be nice and light to stay illuminated, but completely blur anything on the other side of the window. If you are simply recreating daylight and need the all day consistency, if you've got diffusion on the windows you probably don't need to go so crazy on the blackout, probably just the one solid above the window to kill most the daylight. Maybe just note there will be a shift in your fill levels with the small amount of ambience coming in.
  9. Hi everyone! I will soon be venturing into the 360 world of cameras on a music video. I've always been intrigued by the format but never have touched it yet. What's everyone's favorite value 360 camera? Is it a combination of say, 8 go-pros, or is it standalone products with two lenses? Do any 360 cameras offer a stitched feed via SDI or HDMI for wireless viewing on set? Do any of them offer slow motion?
  10. For me a beautiful example of night exterior cinematography is the Lord of the Rings trilogy. Throughout the 3 films there's an immense amount of different types, from the plain forests of the shire, magical, glowing elven fortresses, to massive battles lit by both torch and moon. Albeit this example may be very fantastical, giving the lighting style a lot of leeway to be "unmotivated" - in the Fellowship of the Ring I can think to a few shots where you can basically see the source they're using as the moon. But it all "works" and is incredibly beautiful and striking. Additionally, I think one of the most interesting things about the difference between an audience "detecting" a day and a night scene is the background. For me, you could leave the same style of key light between two scenes unchanged, and set the time of day purely by the illumination of the background.
  11. Hi all! I will soon be using a 16mm bolex with the weaver stead man 2-axis head - essentially I will be spinning the bolex 360 degrees, and the camera will be completely turned upside down. I'm wondering if this will effect film movement? I've heard some things about shooting upside down and possibly getting ghosting/movement issues with the film.
  12. Ah I've been wondering if there's anything reflective in 12x! I use 4x mirrors so much but they often are only good to backlight one subject. Is it basically a 12x of shiny?
  13. Hi everyone! Thanks for the replies, good to see some approaches I can integrate. I love the white sheet idea inside the car. Some more context: - The car will be parked in one position, with talent only ever outside the car. - I have choice over time of day, but it can't be blue hour as this would ruin consistency with the other parts of this scene. I'm going to try to get the most backlight on the car as possible so aiming for 3-6. Luckily we're shooting in winter, so sun will be quite low most of the day.
  14. Hi all! Been racking my brain for a while on how to best light a car for a spec I’m shooting - specifically in the desert, exterior, during the day. Unfortunately our piece has a lot of narrative moments, so I can’t shoot during blue hour/sunset as this wouldn’t leave time for our long scenes and totally throw off the consistency. Long story short, I’ll have to deal with the sun - that being said, does anyone have some tricks for dealing with the big, flaming ball in the sky? My current thought is to just use sub as backlight, edging the car and potentially losing the reflection, and then using some soft 12x bounce in one of the car’s blind spots. I figured the sun being direct in any sense would look bad and secondly adding diffusion frames won’t work for some of our wides and would be seen in reflection.
  15. Hi all! I will soon be shooting my first car spec. I'm doing as much research as I can in order to craft a well-polished and beautiful piece, and to understand the logistical requirements and best practices. We're aiming for a very moody, narrative driven off-terrain piece, employing a black arm setup as well as some drone work. Looking for some guidance, tips, advice - what has everyone learned from their car shoots? Looking back, what would you have done differently from the beginning? What technical difficulties did you overlook?
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