Jinuk Lee

Hey all, I am classified as a Digital Utility. Am I allowed to be rostered and stay as a Utility without reclassifying as an AC?

Anybody happen to know if the cool blue moonlight looking ambient light in this scene was done through gels? If so, which gel do you reckon it might be? Arrival-Bradford Young https://fancaps.net/movies/Image.php?name=Arrival_Screenshot_112&imageid=2493209

Any insights you could offer up on your favorite types of lights for the series or generally? I was offered my first feature (unfortunately probably will have to turn it down) and I primarily like to use an m18, skypanel, and quasars (or tungsten when the story fits it) or other small kickers but hoping to expand my repertoire. I should note that I'm not a fan of kino flos as the color temperature seems to vary greatly from bulb to bulb and I don't have the luxury of going through a reputable G&E rental company yet. Hoping for advice on lights for smaller sets, I won't be lighting any big spaces for years haha. Never went to film school so most of my knowledge is from working on set as an ac and watching gaffers.

Thank you for the responses, I've been working with the Red Monstro back to back for the last two months and got my hands on an lf and venice at a camera test at keslow the other day and I've been wondering ever since. Seems like a lot of productions want to save money on cameras and are opting for the monstro these days. (atleast in the commercial and music video world that I'm currently working in)

Thank you for the response and congratulations on the success of the series. The Marvelous Mrs. Maisel is probably the 2nd show that I've been absolutely enamored with (the first being Game of Thrones). I binged the first two seasons in a matter of days in between jobs. Would you be open to posting lighting diagrams for requested episodes?

Could anybody explain to me how the Red Monstro body is so small and compact compared to the Alexa LF and Sony Venice? I realize that the sensor size of the Monstro is wider than the 4:3 sensor of LFs and Venices but this doesn't seem to be a factor (unless my understanding is flawed), and it blows my mind how Red is able to keep the body small. Anything to do with the fact that red code raw defaults to a 5:1 compression while shooting 8k?

Just wondering, how was the pull out orchestrated in the scene that begins with the miniatures of the suitcases on the episode where the family heads up to the catskills? It goes from a shot of Shalhoub in his study to a shot of the ladies with their racks of clothes. Seems too quick to be steadicam and I would think an accordion style crane perhaps, but I think I heard in an interview that most of the series is shot on location and fitting a crane in an apartment seems unmanageable.

Thank you for all the advice. Also wondering if anybody knows a poor man's way of recreating the spotlight and shaft of light like in the opening shot of Kendrick Lamar's Humble music video. Link to video below:

Got the Arri Tungsten Kit, some Dedos, Zip Lights, bunch of LEDs, HMIs, Kino Flo Divas, Mole 2ks, Softboxes, Chinaballs, Nothing fancy really.

Unfortunately, I have no experience with film and I don't want to attempt to shoot on it without some base knowledge on the process. I don't think I have enough time to really learn and experiment with it for this project. I would have loved to try shooting on Super 8, given the proper resources.

Hello! I am currently doing some research for a music video student project I am DP-ing in a couple weeks. The story is about an old Italian musician who struggles to find his place in the modern world. I think a warm vintage look (like 8mm film) would best serve the project. That being said, should I light using tungsten fixtures and try to create the warmth practically and set CT to Daylight, or try to create the look in post like Amelie and use an orange tint while coloring? FYI, the interior's color palette is mainly red, and I am planning to shoot on a Panasonic GH5 with V-Log, 10bit with a 4:2:2 chroma subsampling. Cheers!

Thanks for all the responses! I think I'm gonna try PA-ing more and even think about being an extra. Do you guys happen to know any websites where I can apply for these positions? Cheers!

Hello! My name is Jinuk Lee, I am a Los Angeles based filmmaker and student. I currently work as an AC (usually 2nd) and have worked on a few commercials/branded content and plenty of no budget independent short films and music videos. For unpaid student projects, I try to take on a bigger role and I typically work as a DP, Cam Op, or Gaffer. For the past two years, I have been trying to get more work on bigger budget sets, but as someone with no personal connections in the industry, it has been somewhat difficult. Therefore, I've had my sights set on interning at rental houses such as Keslow, Panavision, and Abelcine, etc. After plenty of rejections and non-responses, I am stumped on what I should do, or can be doing. I understand that this is a huge industry with plenty of skilled people, but it can be sometimes discouraging when I see friends who don't necessarily have as much experience or technical knowledge as I do get these positions because of a connected family member. I don't mean this post as a complaint, I know it takes years of dedication and hard work, but I am feeling lost, and I was hoping someone on this website could share with me their own experiences and point me in the right direction. Thank you! #cameradepartmentisthebestdepartment #teamrackfocus