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Michael Hammond

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About Michael Hammond

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    New Jersey
  • My Gear
    c100, c300

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  1. Hi Hanes thx for the suggestion. The issue I’m finding with the products I’m trying is that they’re inherently jiggly due to the construction no matter the kind of camera or weight I use. And they’re also poorly built in a way that as I rotate/pan/crane up and down they go out of level regardless of how level the tripod head is. How do you find the ProAim to be in these situations?
  2. Thanks everyone for the suggestions! That intel-a-jib is pretty far out of my budget zone but I make take a closer look at the Seven. I do wish all these companies had better video examples of shots taken with their gear. I find the available examples pretty lacking in professionalism and info. But I've ordered a couple of lower cost jibs to try out...and most likely return. My gut and brain is telling me the ones I've ordered are just not anywhere near good enough. If and when I send them both back I'll dive into the Seven and see about that.
  3. Hi there, I want to buy a jib to upscale my productions. I'm in that spot where I don't want to spend thousands, but I also don't need a top line, ultra-professional piece of gear that I'm going to go into debt for. If I ever need something like that I'll rent. For now, I want something I can set up as a solo shooter or maybe with an assistant. My main "asks" are these: Under $1000 Something I can set up as a solo shooter or maybe with an assistant Doesn't shake or shimmy as it moves (a lot of review videos I watch leave me a little underwhelmed in the stabil
  4. There's a lot of talk in this thread about technical expertise (or the lack of it) in this new democratized world. How about interpersonal expertise? One of the most important things a great DP needs to know how to do is communicate, interpret and strategize with a director or producer, think quickly on their feet. I wonder what thoughts people have around those things?
  5. My wife is always asking me to film our trips - photos, video, gimbal, drone stuff. Just seems like work when all I want to do is relax, not what I do the rest of the year as a job.
  6. I hear you. After the experimentation phase it does feel like you’re just shooting more of the same. I feel like if I take a (video)camera out of the house it needs to be for something ‘real’ whether it’s a passion project or a job. That being said, with COVID slowing things down I can start getting a little stir crazy. Trains give me something enjoyable to film. Gets me out of the house to somewhere quiet and/or private, and there’s even the thrill of getting it right in one shot since I can’t call “reset” and back a freight train up to a mark. Then there’s hoping to nail it before a cloud co
  7. COVID has kind of forced me to slow down in my professional shooting of corporate and commercial work. Just like a lot of other people. And totally against my will for sure, but I've actually started taking an interest again in filming freight trains here on the East Coast of the US. Filming trains is something I used to love doing and I actually had a business many years ago of filming them, creating and packaging DVDs for other 'railfans' to watch. Then things got too busy with my 'real' work and I couldn't find time to go out and just sit next to an active line and watch them come and go w
  8. Uh oh, I didn't mean to rant haha! Just wondered if other people noticed/felt the same way.
  9. A recent post by Karim G. about the use of underexposure in more modern films, and the ensuing discussion about whether it is planned or just a crutch for some filmmakers, got me thinking about something that's been bothering me for the last 6 months or so and wanted to get others' opinions. Haze has been used for a long time in cinema and it adds dimension, mood, story, etc. Actors walk into an old unused house and there's haze in the air to make it feel old. Actors are in a huge building and there's haze to give a feeling of depth and dimension. It's another tool in the tool box. B
  10. Just watched this for the first time on Amazon Prime last night. I was struck by some of the framing that was used. In addition to the scene shown by the OP, there is scene that takes place at a dam and the framing really gave me a sense of doom in that you could feel the power and speed of the water as it's release into the river behind the actors. No green screen here - just (I think) a long lens compressing the space between the actors as the cascading waters rush towards them. I enjoy a movie that takes its time with well-developed shots. Something I think is missing a little bit in m
  11. Thanks Nicolas I'll check that out. And I'll be working on getting some extra light on a face in a wide scene. One question I have has to do with the addition of haze. How do you get a light off set to key a face in a wide shot without the haze giving away that light? I'll be trying to figure that out soon.
  12. Absolutely. I was running the art dept, the prop dept, the gaffer dept. as well as acting DOP so those details definitely fell to the side as I paid more attention to the lighting. I did do a version with a lite panel lighting the bottles from above that looked a lot better. The brightness of that light was lower so the eyes weren't drawn to the bottles as much. But in that version I also didn't have a good bit of light on my far side. It's truly been a practice in just moving things and saying "what does that do to the look" with each change. I don't think any of the setups were perfect but t
  13. Hi Nicolas, Thanks very much for replying. I agree on all your points for sure. Props, wardrobe, setting and set decoration were all just thrown together so I could light a room. In the first series: I'm trying to figure out how to give an edge/top light to make a person "pop" a little more. It's easy to do in interviews, but in this setting I couldn't figure out how to place a light. Maybe it was a limitation of the space, maybe it was a limitation of my experience. But I couldn't mount anything up high, and as you can see the walls were pretty close so I couldn't fig
  14. The last setup I did was very simple. Two practicals behind me, an iPad to light my face, and a light thrown up at the top of stairs for a little extra something. I would have gelled the stair light but didn't have access to them at the time. Excuse the quarantine hair haha. As an exercise in using practicals, what do you think of this?
  15. So here's my "scene" made up of available stuff in the house. I was going for a speak-easy type of thing in the first pic. The cookie pattern splashing on the back wall. The booze bottle with some gelled light hitting them. The bottles are overlit for my tastes. I didn't have access to an ND gel and the spot was turned down as low as possible. Daylight is sneaking in from the right side due to a big window I closed the blinds over, but didn't black out. In the first pic there are hard shadows behind me. I don't think there's a way to get that pattern without the hard shadows because
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