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Justin Oakley

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About Justin Oakley

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    North Carolina

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  1. Nice. I’m thinking maybe I should get some of these
  2. Copy that. I’ll give that a go.
  3. I’ll have to look into that. I recently tried looking into such places in my state, searching for old grip equipment—C stands, combos, maybe some clamps, etc. I even reached out to Screen Gems studios not too far from me, and the rep said they didn’t have any old stuff they were getting rid of.
  4. Ok. Any idea how I can make the window bluer? I only have CTOs and CTBs that are smaller. They are Lee gels—1/4 to full. I think They’re like 12” x 12”...maybe a little bigger. I don’t have huge rolls of them or anything. another advantage of filming at night I guess. I could actually shoot light into the window from the outside with a blue gel on just the light.
  5. Yes! Move the camera to the left for sure. I just kind of stuck the camera into the doorway for the purposes of testing this out. 16mm lens. So you don’t think that window will be too harsh in backlighting the kid? As for the hallway light, it was maxed out. The cto brought the intensity down I’m sure...not sure how many stops. And I don’t own a meter so I don’t really have a way to quantify it. Metering is another journey I’ve decided to take and try to learn in recent months. Any idea what I could do to bring it up? Maybe a power window on the slash of hallway light and bring the gain up?
  6. Here’s the overhead. ghetto rigged
  7. Hello again guys. sorry to kind of drag this thing out. So here’s what I’m working with. I’m thinking we may have to do this earlier in the day as it doesn’t get dark until around 8ish. ...The kid and whatnot. as mentioned before, I’m not a huge fan of the blue “moonlight” day for night stuff. But I’m not sure I have a choice. so I used the daylight through the window. I put a bunch of diffusion on the window outside (it could probably use more). I then cooled the temp in camera and used a full cto on the 120d ‘hallway light’. I did as Mr. Mullen suggested and flagged the light from the hallway using the doorway as a topper, since it’s kind of a tight spot and I couldn’t fit a flag in. I then used a handheld, dimmable, bi-color, tubular light and wrapped it with some cinefoil to focus it on the subject/bed. It was suspended overhead using a couple pieces of fishing line, taped to the ceiling with gaff tape. does this work or nah? Given what I have to work with. If so, I think I can bring the window down a bit in Resolve using some sort of mask. And I can probably lift the shadows up a smidge? I don’t know...
  8. I just saw a brief clip of this focus puller rockin’ it on Instagram. This is just a snapshot but he’s moving around...really into it. what I noticed is that he’s not even looking at the tool (sorry, I’m not sure what the proper name for it is). I’ve only seen pictures of them, but from what I understand they have various distance marks and whatnot? He’s just whipping that thing back and forth, watching the monitor (and dancing along apparently). I think it was a music video.
  9. I just want to say thanks to you, and everybody here really. It’s cool that you’re even bothering to take the time to share your experience and methods with me...and my silly thread about lighting a small bedroom with my three cheap-ish lights. There’s no reason why you should feel obliged to even entertain such questions. But you do. And I appreciate that.
  10. Gotcha. I guess I was getting wrapped around the axel about the idea of some improvised stuff. Kind of forgot about blocking and rehearsals and multiple takes and whatnot.
  11. And what about with a really shallow depth of field? I guess that’s what I wonder the most. When it’s a game of inches is it ever just a guessing game? Again, for shots with a lot of energy. You’re watching the actor...the hips, etc. They bolt up, lean in, and bitchslap the other person across the table in like a second and a half. Then as soon as they got up, they’re back in their seat. You throw the wheel that fraction of a millimeter or whatever, and hope and pray they’re in focus?
  12. Damn. Thanks man! so I want to get a pretty good look like this...but 86 the practical and I’ll be content.
  13. In the shot of him sitting on the bed you can just baaaarely see the edge of the window. So I wonder if I can motivate a light from that general direction (without blasting the walls), elevate the camera height a bit and shoot the scene from there. Keeping the shaft of doorway light—cut like you said with a topper. Obviously the practical won’t be on. sorry. I know this is probably a basic setup but for some reason it’s the bane of my existence. Anything in a room with some practicals I’m sort of ok with figuring out. But this nighttime stuff is a real ball buster. I just see a lot of low budget stuff that involves creating this unrealistic blue atmosphere that is somehow supposed to emulate evening time. But he just looks overdone and fake as hell to me.
  14. I really like the idea of reversing the shot. Or the very first example you provided. It kind of sucks that it’s such a small room too. I understand that it’s important to have an “establishing” shot to keep the audience oriented. That’s where I’m kind of intimidated by how I’m going to make this work. Pretty much every example you gave I kind of smack my head because I’ve already filmed another sequence in the same room. And turning the set around might disorient (?). It’s not a super wide shot revealing a whole lot, but it gives a pretty good idea of the layout. this is a shot sequence with a reverse OTS showing the doorway in relation to the bed. He’s watching the boy’s shadow through the light leaking under the door...as he roams the halls at all hours of the night.
  15. I do have a fresnel. I don’t have a snoot, but could I maybe make one out of some cinefoil or something? I’ve got some of that. also, there still needs to be SOME light in the scene though, right? The viewer needs to at least see that he’s lying in a bed and not just suspended in darkness. Maybe not necessarily see a detailed picture on the wall, but that there is a picture on the wall.
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