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Justin Oakley

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  1. Are you referring to the “mini” grip package in that 3rd link? And you charge less?
  2. Right on. Thanks. So I guess the package does vary…as far as stock.
  3. Hey guys, I’m just wondering if the contents of a standard one ton package are pretty much uniform across the board…no matter where you rent from or whatever. And is any lighting always included? After doing a quick Google search for 1 ton rental, I came across one that had some lights as well—A 4 x 4 kino, some fresnels, etc. but I’ve always kind of understood that grip was pretty much independent of any electrical/lighting resources. with that, I often offer my services/gear to assist with smaller scale productions in my state. I have a hodgepodge of G&E stuff. So I’m wondering if I would consider it a “1 ton” if somebody were to ask “what you got?”. I can usually manage to pack everything into my truck. I don’t have a van, or a box, or even an enclosed trailer (which I have thought about purchasing to make my life a little easier). I’ve got: A couple combos, a couple low boy combos, like (5) C stands, a small baby stand, a bunch of arms and grip heads, (4) full apples, DIY bounce I made forever ago, a handful of cardellinis/Matthellinis, a ton of pony clamps, a couple 4x4 frames, pipe clamps, a handful of baby pins and junior to babies, quacker clamp, some pipe and speed rail, Dana dolly (would that be separate?), 4x4 floppy, couple flags, a little giant ladder. That’s the grip stuff I have, off the top of my head. There are probably a few things I am missing—little stuff and misc tools that come in handy every now and then. And this doesn’t include the lighting I have. If this isn’t a proper package or “industry standard” or whatever, any idea how much I could rent this stuff out for? And should I include lights as well?
  4. Shit. Yeah I meant lighting designer. Yes lighting tech is a common title for film and TV. Chief lighting tech—“gaffer”, etc.
  5. I see. When I think of lighting tech, I think of the guy who runs lighting for large rock shows, or theatre or something.
  6. Lighting designer, eh? That’s a new one.
  7. Right on. I’ve always understood the DP/DoP/cinematographer to be the person in charge of the look…reporting to the director. The person that oversees, and is in charge of, camera, lighting, and grip depts. regardless of the project’s scope. Again, it’s semantics I suppose. One thing is certain. There’s no real difference between the two. As far as the scope of practice and position goes. I just want to make sure I’m not making a list of myself when I say, in simple terms, “yo. It’s the same position!”
  8. Actually “hiring”? Maybe. I don’t know. But I’ve seen stuff like this. I should probably note that there is a fairly decent filmmaking community…in my state as a whole. And experience ranges from super novice to industry professionals. There are a lot of filmmaking social media groups. And many of us are just regular folks trying to make short films and what not. That’s where I’ve seen comments like this. So i’m guessing they haven’t actually “hired” directors, directors of photography, and cinematographers. At least I hope to god that’s not the case. I don’t even know how that would work haha. The only reason I can imagine this happens is maybe they are confusing the Director of photography with camera operator or something? I don’t know…
  9. Hey guys. Here’s something that I’ve seen on more than one occasion and it kinda drives me crazy. The notion that the Director of Photography—colloquially known as the DP—is somehow different from the Cinematographer. In my area, in different filmmaking groups and whatnot, I have seen some folks post stuff like “looking for a cinematographer and DP for…” I even saw one person say “…and I know there’s a difference” (this person is apparently an ‘Emmy Award winner’, by the way). And the Director of a recent short film I worked on as Gaffer used the same kind of language in conversation… asking if I would want to be Director of photography on an upcoming project, and keep _____ on as “cinematographer” wtf?! I’m on this journey just like all the other folks. I’m nobody special. But I take my time and try to learn everything I can about this craft and I try my best to do my due diligence. So I have had to tactfully correct individuals like this. so anyway, I know using the two terms interchangeably is a matter of taste and semantics. But I would love to know where in the WORLD this idea that they are separate entities came from. I have never been to film school. Is this something they teach you in film school? are they “technically” correct in some way? Since I have seen it more than once or twice, it has had me second-guessing myself. And I don’t want to make a liar or jerk out of myself when I point out that the Director of photography and the cinematographer are essentially the same thing. This really bugs me. Probably more than it should haha. i’m not sure if some of you folks have seen the same language used. Or maybe it’s just a regional thing or something…
  10. Right on. Thanks for the insight. I know this reflector thing has been around pretty much since the beginning, but the newer CRLS stuff is pretty much still a mystery to me. Also, I think it’s kinda funny how you said to use a flag to catch some of the spill (rightfully). One of the main selling points, and the line I hear most is “no more flags” haha
  11. Cool. So could a reflector be used kind of like this weird little rig I often use? (Pic attached) I pretty much rig the light onto the stand with a Cardellini and throw it into a small bounce. When I think of reflectors I think hard light. That’s why my first thought was to use it to push light through windows to fill a space. So can these be used in a pretty straightforward manner like this…like as a key?
  12. Hi guys. I’m just wondering if anybody here has used the LightBridge CRLS kit. A buddy of mine purchased one recently and he is letting me hang onto it while he’s away for a bit. I don’t think he has had a chance to really mess around with it or do any tests or anything. But I said I would give it a shot. I like to experiment with lighting set ups in my house when I don’t have anything else really going on. Anyway, I’m not experienced with these tools and the only information I’ve been able to find has pretty much just been demos, reviews, and NAB interviews and whatnot. I know any frustration is due to user error on my end. But they seem like more work than they are intended to be. Earlier today, I spent about an hour finagling and jacking around with a couple reflectors in an attempt to get some light into our kitchen area through an open window—with sunlight, as well as using an LED fresnel. Articulating and manipulating them proved to be a bit of a challenge. I’m looking at actually lighting a “scene” and not necessarily top-down product photography or anything. If any of you kind folks happen to have any pics of these reflectors in practice, or any breakdowns/explanations of how to get the light where you want it, I would love to hear your input. thanks!
  13. Thanks for this. I can actually see is this makes sense. And it looks really good actually.
  14. Ahh, I see. Thanks. it totally makes sense. I do know that it serves a purpose. I would imagine it’s more effective for narrative stuff? along with this particular documentary, I recently saw some of the same short-siding in a documentary series on 9/11. It seemed arbitrary. People are telling these incredibly sad stories about that day, and it looked…kind of weird.
  15. I know there are certain fundamentals and rules in filmmaking. And I do understand that they can be broken from time to time…as long as they are understood. Look room is one example of a basic “rule” of framing and composition. But I’m wondering what this would be called (if there’s even a name for it) and in which circumstances it could be used. I’m watching this documentary on Netflix and I noticed a few of these shots. To be honest, they were a little bit annoying to look at. In each example here, there was nothing of significance in the background. And to my knowledge the story/sequence didn’t really have an air of suspense or claustrophobia or anything. I want to say I’ve seen stuff like this in the past but I’m sure the story actually called for it and I didn’t feel compelled to post on cinematography forums like “wtf is this about?!” I wonder if they made this framing choice like “whatever, we’re on Netflix. Let’s have a good time with it just because we can”.
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