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Jacob Mitchell

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    55
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About Jacob Mitchell

  • Rank

  • Birthday May 24

Profile Information

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

Contact Methods

  • Website URL
    www.jakelmitchell.com

Recent Profile Visitors

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  1. 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.
  2. 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?
  3. 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.
  4. 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.
  5. 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?
  6. Hello everyone! I would love to get some opinions on the following. Let’s say you’re shooting a narrative, a 10 page dialogue scene over the course of 2 days. This scene takes place in one location, with blocking all in one vicinity. Would you rather A) Shoot 5 pages/day, jumping around to all of your camera/light setups for those 5, or B) Shoot 10 pages/day, shooting out half of your setups like wide, two shot, etc. Theres interesting pros and cons to both; as a DP I jump for the 10 page idea so I can be efficient with setups and time, yet a director might see benefit performance And continuity wise for the 5 page option. Worked on a feature recently where this problem arose, and would love to hear everyone’s opinions and logic.
  7. I feel that in most cases, as a DP I hire those I trust and have worked with multiple times, as this experience has helped us work more efficiently together. And with the people I work for, producers and directors, they trust me in my assigned position, and therefore trust my hiring choices as well. This is where the less talked about part of DPing comes in, the leadership and team management aspect. Often if I bring my favorite Gaffer, Key Grip, or 1st AC in, they have a choice over who is below them, be it 2nd AC, Cam PA, Grip, etc. Of course there are exceptions, for example if I'm doing a very complicated sequence over water, but my go-to crew has no experience working in water, I will likely outsource for those more experienced for the job. This is where maybe the producer or director knows someone, and therefore does the hiring. Like most things, this all depends on the "level" you're working on. Since I started making films in high school, to now non-union freelancing, I feel I have had full discretion on who I hire to be apart of my team. The only time I haven't is when maybe the director or producer are looking to bring in one of their people, either as a favor or a suggestion. In terms of union, I'm not up to that level yet, so I don't quite know. Also I should mention, technically speaking, I "hire" them, but I'm not the one sending them emails of contracts and such. I forward their contact information on to the production and they take care of the rest. Here's a list of positions that I can have a choice over who is hired. I've bolded those who often have say in who is hired below them: Camera Operator (Steadicam operator, crane operator, gimbal operator, underwater team, drone team, etc) 1st AC (focus puller) 2nd AC (in some cases also a film loader) Camera Tech (for specific scenarios) Camera PA Gaffer/CLT BBE/ACLT Electric/SLT Dimmer op/Board op Key Grip BBG Grip Rigging Team
  8. For starters, it most definitely looks like Alexa just from the dynamic range. In terms of lenses, its hard to tell. Seems super fast, maybe a 1.4, the bokeh is almost perfectly circular, and the focus is crisp but still has a nice falloff to it. No funky vignettes or artifacts dominant. Looking at the subjects' edges against overexposed backgrounds, you can see some very slight green chromatic aberration. Makes me think of one of the many Zeiss super speeds, but the flaring on the super speeds has a more blue/purple dominant tinge to it, where as I'm seeing a more polychromatic range in the flaring. The colorful yet well resolved flaring reminds me of the Ultra or master primes. Past this it's hard to tell. Don't see any mention of Panavision on the Vimeo description. I feel like most DPs like to credit them.
  9. 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.
  10. 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.
  11. 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!
  12. 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?
  13. 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
  14. 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.
  15. 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?
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