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Justin Oakley

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Everything posted by Justin Oakley

  1. I feel this. I’m a new guy myself and I’ve been learning everything about everything and mostly going at it alone. My best education has been working on set, YouTube university, and places like this. I’m all-in when it comes to this stuff and I absolutely nerd out on it. I feel that it’s our responsibility to do so. But yeah, I’ve noticed that a lot of people where I’m from throw “DP” and “cinematographer” around and I think “come on dude”. Who am I though? I’m a nobody. But as a nobody, I feel a lot better about myself and I will probably be taken more seriously if I hav
  2. Nice. I’m thinking maybe I should get some of these
  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 g
  6. 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 li
  7. 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.
  8. 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.
  9. 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.
  10. 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?
  11. Damn. Thanks man! so I want to get a pretty good look like this...but 86 the practical and I’ll be content.
  12. 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 o
  13. 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 s
  14. 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.
  15. Ahhh, ok. I think I’m picking up what you’re putting down. So a topper on the hallway light to simulate the ceiling light being cut off by the top of the doorway. Instead of just shooting it straight through. And make it brighter. still flag the bounced light if possible moving in tighter for the close ups and meds isn’t as big a struggle as getting the wider master shot. That’s what’s really kicking my butt here. But the shot is kind of necessary as it will keep everything somewhat oriented. I also might try shooting light through the window. The reason why I was plann
  16. Awesome advice. Thanks so much for this. I’ve got a couple flags. I think the only other issue may be space. It’s not a massive room. By the time I sneak a stand and flags in, it will most likely decrease my “wide” shot. Also, that (warmer) light next to the window is the shaft of hallway light that I created with the 120d though. Should I still flag that you think? Or were you talking about the rest of the wall?
  17. Thanks guys. I did previously do some tests, but I can’t help but feel that I did it all wrong. It still looks...off. The scene is a father lying in bed while his son is knifing him in the chest. In this particular set up I stuck some black fabric over the window in our guest bedroom...since it was broad daylight. I warmed up the 120d and stuck it in the hallway, then I kind of flagged the light off a little bit with the door to create a shaft of light coming into the room. I initially decided to do this, not for stylistic reasons or the purpose of story, but to simply g
  18. I know there are industry pros here, so I hope I’m not out of line. I’m just kind of throwing myself to the wolves because YouTube university only gets you so far. But I’m wondering if I could trouble you guys for some advice on lighting a “simple” interior. Theres one scene in particular that kind of intimidates me, which is probably pretty basic for a number of folks here. And that’s “int. Bedroom - night”. I’m trying to figure out how to do this for a short I wrote, and I’m currently making (kind of in a holding pattern due to COVID). I’m self-taught and self funded, so
  19. Thanks for the feedback guys. I really appreciate it. I would’ve gone to the camera assistance section, but I didn’t want to post the question there. I’m self taught, and pretty new, so I wanted to kind of stay in my lane here. So my take away here is 1) It’s pretty much the norm (to the dismay of purists maybe?) to use monitors. Which I get. Either way, when the subject is moving it still seems like you’d be chasing focus—as I mentioned in the original post...handheld kinetic shots, aperture wide open, etc. where pre marked spots don’t really mean much when the dof is more shallo
  20. When watching videos of focus-pullers/1st ACs work, a lot of the time their eyes are often not on any monitor. They are on the action—which is technically the “correct” way? (Taking measurements and whatnot). With a camera on sticks and pre-measured marks it’s simple enough I suppose. Guy stands here, talks to some other dude. He moves to his 2nd mark, and you get there with the focus. But where I get a little confused, and what I would like to get a glimpse into, is how they do this with more kinetic shots...lots of movement, handheld, some whipping around, etc. And especially with a wi
  21. Wow, thanks for this! It’s cool that you took the time to respond with such a thorough explanation. Yes, ISO 1600...that’s what I meant. I think I understand most of what you wrote. That chart almost made sense but I got a little confused as to what information it was trying to convey. I shoot with the new pocket 4K from Blackmagic and recently started cranking away at a short I wrote. I filmed in Blackmagic RAW and I’m familiar with being able to change the iso and all that. This is my first time working with any flavor of RAW (I guess “technically” it’s not true RAW, but whatever
  22. Actually, it doesn’t. Not completely anyway. The halves, whole, and thirds columns represent stops of light? So if I’m shooting shutter: 1/30 - Fstop: 16 - ISO: 3200...that image is “properly” exposed? And if one wants to overexposed one stop, they either change shutter to 1/15, fstop to 11, or ISO to 3200?
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