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Davon Slininger

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  • Occupation
    Camera Operator
  • Location
    Los Angeles, CA

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  1. We have straight Schneider ND's on the show I'm on now. Apparently Schneider has the least color abberration when shooting HD, or so we heard from comrades in the industry that had done may tests. We noticed that ND15 and higher had a much more dramatic color shift that any ND below that. If we used an IR (T1 specifically) with anything less than an ND15 it would be much too green as well. We've compromised and have been using the IR only on ND15 and higher. It is quite a noticeable difference from 12 to 15 but the grading in post has been much more manageable sticking to this routine now. I feel like you just get what you get with HD these days and even if you are using the same camera it still needs some fine tuning and a bit of testing until you figure out a solution appropriate for your shoot. Hope that helps! Have a great shoot!
  2. Hey Chris I PM'd you but it says you cannot receive any new messages.
  3. I've heard that there is another company manufacturing quick release assemblies like the Ronford Baker RBQ. Does anyone know what those are and where I can find them in LA. Or if you have an RBQ to sell I'll gladly take it off your hands too.
  4. Looking to put together a filter package for myself. Starting with 6x6 ND's and 4x5 ND's. IR's, and Grads too if they are out there. Please shoot me an email or PM if you have anything available. thanks much davons@gmail.com
  5. Where do you guys get foam for your pelican and flight cases in Los Angeles? I just got a few cases for my personal gear and need to get some custom foam cut to fit.
  6. Looking for help with an Industrial next week. We are shooting a round table discussion for a DVD project on Wednesday the 7th. There will be a pre-light day on the 6th, shoot the 7th. Our location is an interior warehouse office and we'll need to rig to the ceiling to shoot 360 degrees. There are exposed beams and plenty of options for rigging. We'll definitely need someone that's familiar with rigging it safe. The shoot day will entail lots of dolly moves. Email if interested for more info. Please send a resume or link, and tell me a little bit about yourself. This is a paid position but its a flat rate and will most likely be long days. 400/day
  7. Looking for help with an Industrial next week. We are shooting a round table discussion for a DVD project on Wednesday the 7th. I need a 1st AC that can also operate. We will have 2 cameras, you'll need to operate and pull your own focus on one. We are shooting Sony EX1/EX3 with a lens adapter. There will be a couple of set ups so knowledge of the gear and building the camera is a must. Please email with a resume or a link, and tell me a little about yourself. This is a paid position but flat for the day and it will most likely be a long day. 400/day
  8. Please take a look at my reel! I'd appreciate any solid, critical feedback. Thanks all! http://davonslininger.com
  9. Did anyone attend any of the Master Classes at Cinegear this year? It would be great if anyone has transcriptions or notes they could post from any of the classes. I am particularly interested in the "Lighting Workshop" moderated by Eagle Egilsson, Mike Bonvillain, and Dick Pope. And also the "Cinematography Survival Skills you can Learn on Your Own" moderated by Ron Dexter. I had actually registered for both but ended up picking up work that day and missed them. Any notes would be great!
  10. Why can't you get wider apertures on longer lenses? I've been looking at still camera formats and a 50mm T1.4 equivalent 35mm camera lens on an 8x10 is about a 300-360mm. Largest aperture I can find on a 360mm 8x10 camera lens is T5.5. It had me thinking about cine lenses too. A set of S4's are T2 but why can't I get a T2 360mm? Whats the science?
  11. HAHA Tom! I just did a real life spit take reading your comment. I can't even begin to count how many espressos I've fetched.
  12. On the Criterion Collection of "The Double Life of Veronique" dir Kyrzystof Kyslowski, Cinematographer Slawomir Idziak discusses a lot of the way they approached the filmed.
  13. I was in the first row! So nice to see some peers here that were there too. I unfortunately don't have a recording or a video. Just wanted to chime in with my "I was there too!" Does anyone remember what he said about "Margo at the Wedding." I remember he said he tried something on that film that he had never done before and that he would never do it again. I can't remember what it was though.
  14. Who cares if its digital? Cinematography is still about considering everything, and making all the decisions it takes to represent a narrative (or non-narrative) visually in the best way possible. Benjamin Buttons was mixed format but primarily digital. With the exception of a few things like higher frame rates it was mostly shot with Vipers. If it had won, would anyone really be questioning its validity?
  15. Does anyone have any links to info on this film? "Down to the Bone" http://www.imdb.com/title/tt0363579/ I'm about to start a project like this and I feel like they did a particularly great job shooting this digital on a shoestring budget. I'd love to find some material on it. I've done a couple of searches but haven't come up with much. If anyone has any other suggestions on similar films to research I'd love to hear them. thanks all!
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