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Nelson JJ Flores

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About Nelson JJ Flores

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    Los Angeles

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  1. Hey everyone, just wanted to feel the waters to see if anyone knew any well-known Cinematographers who came up from G&E. I've worked as a Gaffer and Key Grip myself for a good while and I wanted to see how the journey was to get to the DP position from other people so I can research their path to see what I can do with mine. I've DP'd a handful of projects so I've worked in the Camera Department before, so I'm not at all green.
  2. Thanks AJ, I have yet to see the entire film so I have to see how he manages, but I'm just so impressed with the timing and the precision he makes. I just realized the amount of ball busters on the sticks so it makes sense what you said.
  3. Hi everybody, I wanted to know what techniques are effective when it comes to whip panning or when you quickly have to move the camera towards the direction of a character or object; whether on tripod or handheld? Practicing helps I know, but has anyone ever used a method where they improved their accuracy when landing on the shot? For example the BTS for La La Land where the op is going back and forth between two people. He's amazingly accurate so I want to improve my skills to get to that level eventually.
  4. UPDATE: Spoke to a BM representative regarding this issue, "The clip you sent demonstrates a definite clipping in the red channel highlights, exacerbated by the compression factor being set at 8:1. You may get better results at 5:1 or 3:1 here, but no promises. I’ll mention this one to the developers for their consideration." Hopefully this will help anyone who may experience the same issue.
  5. Yes, where it gets all cream color like. If it's just overexposure, I'll keep a note of it. I thought it had something to do with the red pixels, but guess not, thanks Phil! Sorry for the confusion! 😅
  6. Umm lets see. So I shined my LED panel towards a black memory card case. I started moving the case around, and on the bottom of the picture is where I see some weird distortion. I'm guessing its the reflection that is causing it so I want to see if theres anyway to fix it. I don't have any car brake lights footage unfortunately, but whenever I shot footage at night I would see the red colors shifting as I'm recording and doing playback.
  7. Hi everyone, Does any one know if Black Magic has created a patch or a fix for the Red colors? For example, when I shoot at night, any car brake lights or stop lights I see that the red color seems to go overboard in saturation leading to a distorted pixelated image for that particular color. Any fixes? Or something I'm not finding? I've heard that the pocket 4k doesn't have this issue anymore, so I'm wondering if they even have a fix for the G2 yet. Black Magic forums, I've had no luck finding anything, so maybe someone here may an answer. Thanks!
  8. Hey guys, another one for the books. So I'm starting a feature later this month and one of the rigs that I need to devise, is one where I need to rig a ronin 2 to a ceiling for a Birds Eye View. The ceiling is slanted, hence my reach out for advice. Usually I see rigs where there is some level of flatness but in this case, not at all.
  9. Scary stuff there. I believe the Key grip is pretty well experienced. I'm just trying to get an idea as to how they would rig it and see if the units are able to fit all together
  10. Hey everyone, so coming up I have a VW commercial and grip side will be doing is a 20x40 overhead soft box. We'll be placing 40 sky panels (s-60's) within the frame Have people done something similar? I want to know if there are variations of this rig with the amount of units that we need to put up? Diagrams would be nice, or measurements of how people do it. I'm on electric side for this gig so I'm just curious how the sky panels will be need to be arranged. Thanks!
  11. Hi everyone, I'm trying to get insight as to how everyone approaches producers in terms of budget to get gear. I know for many people we're dealt with low budget projects. So how does everyone negotiate with producers to get the necessary items required for a shoot. As well as fighting for certain crew members. I've met with producers who would consider just two key positions and would leave it at that. I know there will be some back and forth but I'm looking to see if anyone has had success with a certain method. If not, I'm open to seeing people's individual method of approach so I cou
  12. Hey everyone, so I finally did the shot. Turns out that what I had in mind completely went out the window. The director was imagining the light movement in a different way that made it simpler. We had the light; instead of rotating around the subject, simply do a 180 degree arc in front of the subject. I'll attach the video. But you'll see how the light moves in the guy's eye reflection. All I had was just a light bulb in front of our slider setup, dimmed very low, a photo studio light for the backlight, and a lite panel that the director had. I wrapped the lite panel with black wrap
  13. So I found out that he wants the light to move above the character now, not below. What we discussed and kinda figured out was to put a battery powered LED at the end of a light stand, and we will have someone boom the light and rotate around the character. The shot is basically 18 seconds long, so not to much time will be spent holding the light so it helps. Just have to make sure the light panel isn't spilling everywhere. I was thinking about spinning a light above the character and shoot at a faster frame rate, but I'm a bit afraid of the rig hitting the actor. Asteras would work
  14. Definitely don't have the gear to do an overhead rig unfortunately or for a whole platform to have the actor rotate along with everything else too. I was thinking about having the lazy susan rig right behind the actors chair and arm out a light but again no budget for c-stands or anything else to rig onto the lazy susan. haha story of our lives. I'm thinking the light will be coming from below for convenience. So the stand on wheels is a good idea, we would just have to make sure the light and person doesn't appear. Or maybe a platform with wheels or a smooth surface that can glide. I'm
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