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Matt Thomas

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About Matt Thomas

  • Birthday 06/06/1990

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    Fort Wayne, Indiana
  • My Gear
    Sony FS5 / Nikon D800

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  1. Follow up question, how many takes did that scene take? They were pretty sweaty... haha
  2. Who else has binged through season 2? I'm curious if anyone has any solid guesses, or knows (ahem Mr. Mullen), how the "baseball hitting scene" in the last episode was done. Clever VFX? Actors are talented athletes? Slight of hand & sound design? The scene has kept me up at night... there's no way they actually hit all those baseballs during that long one shot and with the camera in front of the bats, right?! Beautifully done either way. I love this show.
  3. ^^These guys get it. Thanksgiving Bond marathon amirightttt?! Whatever you choose to focus on instead of the actors face, make sure it can still emote some sort of reaction or emotion to act as a proper proxy.
  4. If we're just spitballin' let me throw my 2 cents in here.. Go James Bond "villain" about it. Idk if that makes any sense but I feel like in some of their early movies (hell maybe it was Austin Powers) they would pick an object or something early on (was it a cat?) that the villain would be represented by to avoid showing the character early on in the movie. Maybe this is an opportunity where you can have the person represented by a object they are interacting with that can also help convey their reactions or mood (stirring coffee, fiddling with sugar packets, etc as mentioned above). Another option might be to visually obstruct the character until the end.. shooting their speaking role through a textured window, or focused on items in the fore ground. Good luck!
  5. Yesterday's office! I only got stung once...
  6. If you're a student I'd ask yourself what kind of portfolio piece you want from this, and what kind of work you want in the future. If it's directing work you want, blow that budget on good actors. If it's more visual work you want, blow that budget on awesome camera/grip/location. If it's both... hire some one to help get that script/story to an amazing level and let the story do all the work.
  7. Beauty!! The grade was nice, not too heavy. Liked the blue somber tones throughout to match feel.
  8. Coming from the low/mid range camera budget world... To me it's a big deal. I'm a one man band for the most part so budgets are stretched very thin. Odds are if I'm shooting I'm editing. I have the capability to shoot RAW, but as everyone knows it's a nightmare to edit with unless you have an amazing expensive system. So the only real choice after that is to shoot ProRes and make the data sacrifice for editing's sake. That brings me to ProRes RAW. To have the work ability of ProRes and the flexibility of RAW is huge to someone like me. BUT WAIT!! It's only on final cut... so I'm not going to use it. What's the point of all that power in post when you are only able to work with it in FCP? snore. If they open it up to the other NLEs I expect huge adaptation.
  9. Macks - It was shot on a Sony FS5/Atomos Shogun Inferno combo. If you're talking the slowmo shots it's because it windows and gets real rough past 120fps. If you're talking about anything else it's because I added grain in post. Tyler - Thanks man! Picking good music that's the right vibe and in the budget is the hardest part of any project in my opinion..
  10. This is a trailer for the first episode of a small docu-series I'm hoping to get off the ground. The idea is to go out and find entrepreneurs and small businesses in their day to day, and catch them in the thick of it. So many stories of successful businesses are told looking back on the hurdles overcome and explain "how I got to where I am". In an effort to inspire from the ground up, we're trying to tell stories from a more relatable point of view. Would love to hear any thoughts on production, story direction, or how and where to sell this idea. Thanks!!
  11. I didn't go to film school, nor am I some big shot that should be giving advice from the top of the industry. That being said my general thoughts on going to school these days are, unless you're a specialized lawyer or doctor to where a degree is your ticket into a career, don't go for higher education. Cinematography, photography, anything that has the word art connected to it is better pursued by time and dedication to craft. Odds are you can find an entry level something in the industry just by showing up with the same enthusiasm you're showing the universities during interviews. If I could go back and redo my education I wouldn't much rather spent the years in the bowels of the industry (getting paid at that..) than on the sidelines. You're probably going to hear a bunch of responses like this but there's no cut formula to your dream in cinematography, no matter what that dream may be. High School > Graphic Design & Commercial Arts Degree > PA (and a **(obscenity removed)** ton of hustling) > In House Agency Videographer > DP > ????
  12. It's seeming like we're in the beginning stages of what our plan is. It's a hospital so obviously one of the first suggestions is "let's not disturb the place", which is completely understandable. I wouldn't be surprised if when we come back with a "yeah we can do it at 2am for this cost..." the plan changes to a different time or location. It seems like it's all possible at this point, but to Phil's point, at what cost. Hey Macks check these dudes out https://hammergrip.tv/
  13. ...when we have to shoot at 2am :blink: We need a wide shot, and the budget does exist for some proper lighting (hospital commercial). Attached scout photo below. So many windows, so much outside... Assuming that it would require some giant HMIs to light the immediate exterior right outside the windows, then blast some huge sources through the windows up top to blow out the night sky/light the interior a bit. Curious your thoughts and if you've ever encountered something like this. As always many thanks for this forum's combined wisdom.
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