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Matt Golding

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About Matt Golding

  • Rank

  • Birthday 08/18/1995

Profile Information

  • Occupation
    Cinematographer
  • Location
    Leeds
  • My Gear
    C300, Canon 5D Mrk III, Sony F5, Sony F55, Blackmagic PCC, Sony NX5
  • Specialties
    Cinematographer, Camera Assistant, Gaffer, Spark, Producer, Line Producer
  1. Hi All, I'm currently DOP for a social realism graduation film, a bit naive and a bit nervous because my approach is to experiment and shoot with the Sony F55 and 16mm Zeiss Distagon prime lenses throughout the whole of the short film. This means I have to operate with 2x crop, which isn't much of an issue because I have all the necessary primes and zoom lens to cover the shots needed, but from the camera test footage the lenses appear a bit too soft. I was intending to get a soft look, but I didn't realise how soft they would actually be. I'm not too sure if the lenses need calibrating in anyway, but I won't jump to conclusions because my knowledge doesn't go that far, however they do seem to perform slightly better in low light. My film is being filmed out on the majority of Day Exteriors, so I'm just wondering if it's worth sticking to my guns, or whether it might be best to resort to other lenses. I also have the option of using the Zeiss CP.2 prime lenses, and I'm now thinking this could be my best choice. I'm a fan of the work by Stuart Bentley on This is England 90' and I've read up and come to understand that he operated with the Arri Amira, Arri Alura zoom lenses and the vintage Canon K35 primes. I'm just wondering if anyone has any useful advice on how I could achieve a similar look to this work. I'm looking a visual references such as: Tyrannosaur (2011) Dop: Erik Wilson This is England 90' (2015) Dop: Stuart Bentley Fish Tank (2009) Dop: Robbie Ryan (The images shown in this post currently don't have a colour grade applied, this is my next move as of tomorrow) If the images don't seem to appear, check out this shareable link to a google drive file of the test: https://drive.google.com/open?id=0B67phC0DGkQYUmJEY1FtN3RHOFk Fire away at any questions if I've missed anything, or if it doesn't quite make sense. Any help would be massively appreciated! Thanks, Matt
  2. Believe me, 16mm film is something I really want to work with and I haven't had the chance as of yet. For the sake of the short film I'm DP for, I'm going to compromise and shoot digital to achieve the look I want instead, because the crew and myself don't seem to have the up-to-date creative skill set needed to deal with 16mm. I imagine that the workflows are completely different to working with digital and I just hope that 16mm film is represented more in the coming years so young filmmakers like myself have more of an understanding about how it works from pre to post. I hope to shoot 16mm some time in the near future and no doubt about it, I'll most likely be using this site as my resource. Thanks for your advice Kenny.
  3. Hi, Yes we have access to a S16mm camera, but my knowledge isn't the best with them. From what I've heard, it can be quite a long process in post-production and that's something we'do have to set aside in the budget. Would you have any advice on shooting 16mm, as I am quite new to it. The strange thing is, I'm currently studying in my final year at film school and we've only just been introduced to 16mm film, this is because the primary learning resources for filmmaking now are by using digital cameras. I wish I had my experience with 16mm to decide for myself. Thanks for the reply Pav
  4. Completely agree! The latest TV series 'This is England 90' is the one I'm looking at more specifically and actually looking at them both you can tell that it isn't S16mm film used for the latest series. Myself personally, I focus a lot more on lighting than I do in camera, so thanks for message Phil - massive help.
  5. I agree with you, I'd rather use the Arri or a Blackmagic camera on that note. Unfortunately for me, we have an Arri Alexa at our film school, but the camera is only available for the MA students. I was not happy! I understand that using a S35mm sensor is the opposite to what I could shoot with the Blackmagic at S16mm, however I would prefer to shoot Slog2 with the F55 with the longer lenses in addition to it also having more dynamic range. I'm going to test both cameras this week taking into account the advice on this forum, they are my best options I suppose. I've also learnt that the Sony RAW files are a nightmare to transcode, but shooting in RAW is a personal choice as I'd prefer to play around with the Sony LUT's to achieve the best possible look for this social realism drama. I understand post-production could be a long process, but I guess it might be a case of learning from my mistakes on this one. I'm not 100% which camera I'm definitely going to use as of yet, but I'll bare your advice in mind, thanks. Sorry my mistake, I confused them both for shooting in RAW. I was told that the Sony A7S II shoots Slog2, so I was thinking about maybe doing camera tests with both this and the F55 to see what options this offers me. Thanks for your reply Tyler.
  6. I should have said it's a student grad film with roughly a £3000 budget, so I have the kit needed to pull this off, but there are some additional lenses/accessories I may need to rent, which is absolutely fine. I had in mind 4k but I was just wondering if it was necessary as a creative choice for the story if I was going to settle with the ziess cp2 primes. I know that I should shoot 4k as after all it has a 4k sensor, and if I shoot with with the centre crop, roughly 3.4k would be acceptable for what I'm going for in regards to the visual style also. I think the film school have the r7 recorder, so yeah I'll be using that to my advantage for shooting in RAW. I'll check out the primes, distagon and zooms for the camera test this week and see what this does for my intentions with the visual style of the story. I have access to the carl ziess 21 - 100mm T2.9 so ill test this with the AC as well and see how this work out for me. I'll bare in mind the fujinon cabrios 14-35 and 19-90, however this would have to be a rental. Im not going to pretend I know everything about the technical differences as I'm just starting out, but thanks for your advice because it's really come handy. I think im pretty settled on the F55, and for the planned car rigs I'm hoping to use the Sony A7S II as a smaller compact system, it also shoots in RAW and Slog so this will be beneficial matching the picture up in post. Matt
  7. Thanks for your reply guys, I understand where you're coming from Tyler because the blackmagic is more compact, lighter and you can shoot in RAW with the S16mm sensor, so thanks for your advice and I'll test this against the F55 this week. I have access to both the F55 and the Blackmagic PCC, and the F55 just keeps appealing to me, as i would prefer to shoot slog and like you said Robin, I can play around more in post. So if i shot with the F55 in 2K with the 2.8 zooms, would you say that this would still work to a good enough standard and i'd still retain a good picture quality and depth of field with S35mm lenses? I'll take a look at them lenses now. Thanks for your help guys. Matt
  8. Hi, I'm currently in pre-production on a "kitchen-sink" social realism drama and I'm looking at films like 'Fish Tank' and 'This is England' as visual references for the look of this film. I want to use the flat and dry colour palettes used in these films to create a similar mood and atmosphere for my film. Eventhough my influences are from an 80's style, this is a creative choice for a film with a contemporary story. I will be testing the Sony F55 and the Blackmagic distagon lenses next week to see if this would be a possible substitute for shooting 16mm film as this would be too expensive. I've been told that this would change my depth of field and that I'll be shooting with a 2x crop. The majority of this short film will be shot ecu - mids with occasional wides as it's quite a close and intimate story. I'm just wondering if anyone has any suggestions or advice in regards to my approach? Here are a few visual references. Fish Tank: http://66.media.tumblr.com/f87e91f7a39493982b2c3d601ca6b463/tumblr_mn65qzTtXA1s6aghro1_1280.jpg https://cinenthusiast.files.wordpress.com/2011/02/fishtank.jpg This is England: http://vignette3.wikia.nocookie.net/thisisenglandpedia/images/6/68/Article-1285850004888-0b6ab43e000005dc-948583_636x361.jpg/revision/latest?cb=20150928011720 http://esquireuk.cdnds.net/15/37/980x490/980x490-this-is-england-90-finale-43-jpg-6b3a7d05.jpg (Sorry for the links - this has been sent by mobile) Thanks and any help is much appeciated! Matt
  9. I see what you mean, I did imagine that the key light was coming from the back right as a 3/4 light. I had just missed out on spotting the shadows on the floor as they're so faint, so thanks for pointing that out! I do feel as though there may be a stronger source overhead to light the subjects in the far left hand side, however, I may be wrong. Thanks for your help! It's much appreciated.
  10. https://www.youtube.com/watch?v=olwYxXWHBz8 This is a scene from Peaky Blinders and I'm interested to find out what lighting techniques they have used to achieve this look and possibly what equipment and practicals have been put in place for the contrast lighting shown. Did they use a haze machine?
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