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Jacob Mitchell

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  1. Jacob Mitchell
    Hi all! I'm DPing a short at Emerson coming in March, and I'm just interested in suggestions for my first time shooting 16mm. By default we are shooting on V3 500T, and the entire film takes place in day exteriors. From what I'm reading across the forums, this does not seem ideal and looks like I'll need a lot of ND. What else might I experience when rating so high in exteriors? Also, my biggest concern is trying to get a clean image with little grain. What are things I can do on set/with the lab in order to get a clean image? Anything for a first time in film will help. Thanks!
  2. Jacob Mitchell
    Hey everyone! I'm shooting a classroom scene coming up, and was wanting to use a 1.2 HMI and Arrisun 5 through some frames to not only replicate the sunlight, but use it the entire shoot to just keep the light consistent. However, I've got a feeling that we'll be seeing the frame outside, and I don't think our 8x8 will cover the entire window span (it's around 10x6 of window). However, I'm wondering if these concerns are mute. Here's my solution, however I'm not sure if entirely would work: - Cover the windows entirely in 216 diffusion, allowing the windows the blow out but also to diffuse the light. Thoughts? Or any rules of thumb when doing a setup like this?
  3. Jacob Mitchell
    Hey everyone! I'm currently a student, and a huge fan of film. As soon as I can get my hands on it, I want to shoot it, even for jobs. I know there are tools such as video tap that allow for a feed of what is being shot, but I don't remember seeing any sort of playback device (correct me if I'm wrong!) Of course the film can't just be processed and pulled through to be watched again, but couldn't the video feed on the monitor be screen captured, and then made to be easily reaccessed? I imagine new tools, hardware, and firmware would be needed for this function, but no doubt the technology is there.
  4. Jacob Mitchell
    Hey Tyler! Thanks so much for the advice - I spoke to a friend of mine who is currently working for Shane and said it's got a lot of practical learning and hands-on to it. I may also keep searching for smaller production companies to see if I can come on as something more general - but at least production involved. I surely will be contacting you! I saw your Celluloid Dreaming site, and have to say I'm in love. I grew up with just digital and in all purposes have only done digital shoots. But no matter what, digital will never compare to film... I'm waiting for the day I get a gig that will allow for film. It's sad to see so many of my peers toss film to the side in frustration. I really hope it lives on.
  5. Jacob Mitchell
    Hey everyone! I will be attending Emerson College's LA campus fall of 2017 and we are required to hold an internship for the semester. My focus is cinematography, and am particularly looking for internships that pertain to it. However, this has so far not been an easy search. Most internships I see are "entertainment" or administrative internships. I'm not worried whether it's paid or not, and certainly do not mind internships that require office duties and tedious workloads. My one desire is to find a place where I can at least learn something about the craft and industry. So far, interning for Shane Hurlbut or Panavision is about the best internships I could find. No doubt I could put in time at a rental house, but I've seen many say that time could be spent better elsewhere. Anyone have experiences or suggestions for finding said internships or any that are cinematography based in LA?
  6. Jacob Mitchell
    Thanks everyone for the awesome advice! It's interesting to see everyone's perspectives and takes on the relationship. I think for my next project I'm going to try and collaborate much more with the Gaffer, even going as far as making no initial technical decisions and just collaborating creatively and from a conceptual standpoint with my gaffer. I think I may have been so controlling due to my lack of trust, as often I'm working with other students.
  7. Jacob Mitchell
    Not many people know about this one. This was a book that I randomly found, and is definitely outdated, but incredible technical if you're into that: Principles of Cinematography: A Handbook of Motion Picture Technology [book] Also, some other oldies but goodies: More Contemporary Cinematographers on Their Art Masters of Light: Conversations with Contemporary Cinematographers
  8. Jacob Mitchell
    Hey everyone, I'm currently a student studying cinematography, and have found some dilemma when working with a gaffer. Often times I am very controlling in pre-production; I know exactly what light I want where with what gel and how many foot candles it will read. However, I feel like just handing my gaffer a floor plan is a disservice to them as a part of the creative process. What is your experience/take on the Gaffer-DP relationship? Where are the lines drawn? Who does what when in pre-production? Thanks a million!
  9. Jacob Mitchell
    Phil, Shooting on Red Epic MX.
  10. Jacob Mitchell
    Any thoughts on simulating faint lightning as well?
  11. Jacob Mitchell
    Hey everyone! Thanks so much for the replies... very helpful suggestions. I'll likely switch over to a 2k as you suggested David, to make sure the rain is a bit more distinguished. Would something as simple as a hose, capped at the end, with holes spanning the length of the window work? Then just placing it above and against the window? Also Phil, why are ellipsoidal lights called "profile" lights?
  12. Jacob Mitchell
    Hey all, DPing an independent short come December 9th-11th. There is a small Interior Night scene on location, where I would like to simulate stormy weather outside. I would like to do something like water in front of a fixture, but how can I achieve this? We will likely be using something like an Arri 1K with Urban Vapor gel outside the window to simulate a street light. Won't be shooting towards the window, so the rain effect will just need to be a texture. Also, would like to simulate thunder, in combination with the street lights. We'll have a couple of SPE-6 Flickermasters. How can this be achieved? Thanks ahead of time!
  13. Jacob Mitchell
    Hi all! Shooting a student short December 9th-11th and the actor goes from laying down on a bed (on his side), and jolts awake completely upright. We want to have the camera follow his orientation, and go from vertical (on the cameras side) to a typical position horizontally. I'm wondering if there's a way without something like a Lambda head or maybe a full Dutch head. Suggestions?
  14. Jacob Mitchell
    I have to agree though, if the conditions are ideal, the URSA seems to shine. I recently saw a test with the 4.6k and Kowas.... created some very beautiful images.
  15. Jacob Mitchell
    Thanks everyone for the replies! Sorry David, by "spent" I meant exposed. Didn't realize that the terminology was so crucial to the process... thanks for that clarification. Also, love the Black and Blue. And I'll definitely be giving that book a read James.
  16. Jacob Mitchell
    Hey everyone, Despite all the benefits of growing up in the digital age, I hate that I missed out on the era of film. What are a clapper/loaders particular duties on a set? What does one do for labeling spent reels? How are spent reels stored? Are reels loaded with film ahead of time? What are the dutyseparations between them and the ACs?
  17. Jacob Mitchell
    Always a question on my mind as a student... I often hear of the "ladder" that is intrinsic to the industry and the grind working your way up is. With how I'm currently working on stuff as a student, it seems viable to keep honing my skills as a DP, and trying to find my way freelancing in and out of college. Has anyone had experience/heard stories of DP's jumping right into the role? Or purely doing self-marketing and promotion in a "I think, therefore I am" sense?
  18. Jacob Mitchell
    Shot with the URSA on a run and gun shoot... at night... in other words the worst possible situation for the URSA. I think it would work best in a studio situation, or somewhere you have control over a good amount of lighting. The highest ISO is 800, and even at that the grain is IRREVERSIBLE. It's FNP (Fixed Noise Pattern), so it'll look like absolute garbage. However, I've heard FNP is supposed to be easier to remove in post - but that's something that shouldn't have to be done. I do enjoy the Global sensor and the image it gives... very easy to match with an Epic MX. The design is nice, except for one glaring flaw. When you use the built in shoulder mount, and go to look at what you're filming, you're going to get a nice 10" of image all up in your face. The screen was literally smashing my nose. Got the chance to play with the mini, and it's just as bad. Cheers, Jake
  19. Jacob Mitchell
    Awesome! Will definitely be referencing this.
  20. Jacob Mitchell
    Here's an awesome spreadsheet of different measurements, spot and flood, at 20 feet. http://wolfcrow.com/wp-content/uploads/2014/05/LightingLumensComparison.jpg
  21. Jacob Mitchell
    Hi All! As a student, each projects means a way to stretch myself further. If I'm not trying something new (or a little bit scared) on a project then I feel like I'm not taking steps forward. Lately I've been doing pretty in-depth floor plans and 2D pre-vis, and it has been working wonders for every project. However, I'm still working to get exactly what I want in my head to paper, so that on set my images are not a surprise. Is there a way I can tell how many foot-candles a certain light will output? I'm wanting to essentially know exactly how powerful a light I'll need to expose to a pre-determined f-stop. I'm familiarizing myself with inverse square law, so all I'd need is an output at any one distance and could work from there. Is this just a knowledge gained from experience? Or is there a practical way to determine output? Thanks, Jake Mitchell
  22. Jacob Mitchell
    Wow, Thanks everyone for the responses! So interesting to see all the differences in standards and roles across borders... I feel like you could write a book on all the minutia.
  23. Jacob Mitchell
    David, Thanks so much for the advice! May just have them come on to assist with our setups.
  24. Jacob Mitchell
    Hey all! Newer to the forums here. I'm shooting a senior thesis project coming up next weekend, and like any student project I'm trying to always up my game to the next level. We're shooting a lot of daylight exteriors, and I plan on setting up a lot of 10x's with diff to just get some more control of the light and to keep it consistently soft on close ups. My understanding of the workflow between G&E is still growing, and I was wondering what the gaffers role would be on a daylight exterior scene? It feels to me more like we would only need a KG on a day that we're just flagging, rather than creating light. Wondering if anyone could elaborate more on this.
  25. Jacob Mitchell
    Bump EDIT: The Redmote has been sold.
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