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Bravo Michael Nwosu

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About Bravo Michael Nwosu

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  • Occupation
    Cinematographer
  • Location
    New York

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    http://www.bravomichael.com

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  1. Thank you. Everything I shot was given back on one roll.
  2. Thank you for the insight. I believe that is exactly what happened, and I will check the gate thoroughly next time
  3. Hello, I recieved my scans a few days ago, and noticed brown consistent line (shifting) running down the edge of the frame for about 370' of a roll. I had two rolls processed and the other (300') does not have this issue. I used two separate mags, so the lab is suggesting that the line or 'scratch' is a result of the mag that was used. I'm not too familiar with this issue so I am unsure, but I did painfully un-spool my order, and found no line of the sort with either my eye, nor a magnifying glass. I wanted to post a few screenshots here to run it by this community just to have some closure on the issue. These will be stills, but when moving, the line jitters and in some cases are more faint in other spots. There is also an instance when the line shifts 2 inches, and then back again. Additionally, there are some frames where I see double lines.
  4. Thank you very much. And thanks for linking that thread. The set I'm looking at has the 10, 50, 75 and 25 (f1.4). I'm sure the 50 & 75 are good, just got to check the 10 and 25!
  5. Thank you! And yes I'm also noticing on the manual these lenses are said to work
  6. Thanks for your answer. This particular set has 10,25, 50, 75 thought I am unsure as to the make year. Also, is there a way to know if a lens touches the mirror before activating the camera? or is it a trial and error sort of deal?
  7. Right! Du All Camera says Standards will fit in a Bayonet Mount camera. And I got a reply firsthand from someone who says, these specific Schneider's fit in their Arriflex 16BL (Bayonet Mt.).
  8. Just found this! So would you say using Arri Schneider-Kreuznach Cine-Xenons would be dangerous on a 16BL. They're in my area andI cant find any Bayonet's to rent. Lenses in question (not buying, but example): https://www.calkovsky.com/sold-super-16-schneider-arriflex-lens-set-10mm-16mm-25mm-35mm-50mm-75mm-bmpcc-lenses/
  9. Howdy, Just wanted to see if anyone has any expericne with the Arri Schneider-Kreuznach's (Arri-Standard, originally for Arriflex 16S) fitting on an Arriflex 16BL (Bayonet Mount). I know I've read that Arri-Standard's usually fit on the Bayonet, but wanted to check in about these specific lenses. Thank you. Here are the lenses in question. https://www.sharegrid.com/newyork/l/2926-arri-schneider-kreuznach-16mm-set-covers-bmpcc-10-25-50-75
  10. Shot on a BOLEX H16 REFLEX, using a single zoom lens (ANGÉNIEUX 12-120MM). This was my first time shooting 16MM, or any film (print or motion) in any capacity. Stock: KODAK VISION3 500T Pre-Pro: I storyboarded meticulously and frequently went over the edit in my head in order to weed out any unnecessary shots. I finished the film in 4 roles (100ft) Exposing: Using a light meter I exposed the film about 1 stop over, so for 500 I read for 250 (200 whenever possible). I'm still learning how to properly use my meter, so I used my BMPCC's histogram to checkover my readings. Despite that I bracketed for safety and took notes along with my thoughts on what I expected from each shot, based on intuition. (Note: my notes were spot on). No push/pull on the interior shots. The exterior shots were pulled 2 stops, but only because I forgot to dial in my exposure (brain fumbled due to doing all tasks other than the acting). However, it seemed to work out for the story, that the colors were a bit washed out, and milky comparatively. Gaffing: I relied mostly on my eye for natural light + practicals, letting the light pass through several mediums (furniture, clothing, floors etc.) before hitting the actress because I'm keen to the "complexity" it gives. Because of that I did not light specifically for the face, I allowed just enough light to hit the talent. If those weren't doing what I needed them to I mended them using bounce boards, flags, curtains. The only additional light used was a single 650W MOLE RICHARDSON "TWEENIE" (used to mimic daylight, sunset, lamps) and I used a FLASHPOINT photography light to give me stops in the ambience at the door scene (:20 second mark). Post: Processed at Metropolis Post at 2K. I graded and edited in Premiere Pro (I'm not yet skilled in using DaVinci for color). The grading process took 3 passes, in each pass I learned something new pertaining to color curves, waveforms etc. All in all I ended up scrapping 6 shots due to underexposure and my inability to recover them to my taste in the grading process (as I expected from my notes). Takeaways: I definitely feel like I've graduated to the next level in cinematography because of this experience with film. I know that I need to study up on how to use a light meter to expose and how to properly read information coming from my light sources. And that, SET DESIGN is key. I spent nearly 45min-1hr for each setup on making sure the set design corresponded with my compositions. Also, investing time into your set ups is key. I would say this produced my best work to date because of how meticulous I had to be with everything, this is mostly because every time I rolled I was spending money, that I honestly did not have (it worked itself out). Future: I can honestly say I prefer film to digital, whenever possible, because I'm sensitive to color & texture. I feel that with film the colors and textures have a density to them, akin to oil paintings or whole milk as oppose to 1% or skim milk. I prefer that. I will try to shot more of my shorts on film mostly because I do not shoot as much as I should, and thus could feasibly save up for the next one. Tips: For anyone looking to shoot film for the first time, I cannot understate the value of the Internet, and asking questions. I did alot of reading months prior, and would always seek out videos of different film stocks to get a feel for what characteristics they have. I learned how to load (and borrowed) the Bolex from a 1st AC friend of mine, and learned what to expose for and the pushing/pulling process from the DP's I've worked under. Due to VIMEO compression, here is an album of screen-grabs: https://imgur.com/a/gr4hTxG
  11. I'm a 22 year old Director of Photography, currently living in Brooklyn, NY after flying out from Texas a month ago after graduating. I'm new to this world so my portfolio consists of work I've curated since I first picked up a camera last September. I attended a school mostly interested in stage theatre so I've taught myself most all of what I needed to know the benefit of those self teachings was that I was able to learn my tastes fairly quickly and untethered. I'm posting my portfolio and recent short film to hear your thoughts as these are the works I plan on using to look for some work while I'm trying to make it out here in the industry. Thank you! Portfolio Short, "Birthday"
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