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Andrew Ko

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About Andrew Ko

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  • Birthday 06/20/1992

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  • Occupation
    Student
  • Location
    Toronto

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614 profile views
  1. Wow ... Amazing answers guys, this forum is truly a blessing. Thanks especially to Brian for such a detailed answer, I appreciate you taking the time to write that out, I'll make sure to keep it as reference.
  2. Hi guys, So I know that a lot of LED sources are more energy efficient than tungsten sources, and so could output more light with similar or even less wattage. I'm planning on purchasing some lights next year for a short film. I'm used to using Arri 650s from my school, and am trying to get some kind of frame of reference for how much light I'll be getting for my money, and just a general way to "compare" lights and have an idea what I could be working with. My instinct tells me I should be comparing lights by lumen or lux, but I know that generally on set people refer to lights on
  3. Yeap, I graduated pretty much right when Covid hit. Thanks so much! And thanks for this detailed feedback, I'll definitely consider every point you mentioned. I appreciate it, especially the specifics you went into, this will help a lot. Andrew
  4. Hello, This is my cinematography reel coming out of a film school in Toronto. Please let me know what you think! Reckon I could get any work with this? Thanks.
  5. Holy poop. Thanks so much for this! I was looking for something like this, but never thought someone would give such a detailed post. Wow, a lot of your story is very enlightening and helps a lot! Much much much thanks for taking your time to write this. I will be studying this post for awhile.
  6. True, talent and knowledge does seem to be the most important. I guess when I look around I just see that people require a certain standard for what you have experience shooting with (ie., it might be hard to get work if you only have experience on Canon prosumer DSLRs no matter how good the work is). In other words, it seems like a requirement, not necessarily your selling point. I guess what I mean by "medium-high level productions" would be anything with an AD. In other words, nothing like small corporate videos that you would make with a DSLR where you do every job including
  7. Wow, thanks so much David for your detailed reply. Actually, I was hoping for a reply from you! Times may be different, but I like to think there are some universals that are always relevant, so I'll definitely keep everything you've said in mind. Reading through your answer, it did light up some bulbs in my current thinking for what I plan on doing this next year when I graduate, so your advice is very much appreciated. - Andy
  8. Hi there, I've been finding it a little hard to find practical advice about acquiring a first paying gig as a cinematographer -- key word, practical. So I'd like to throw it to you guys and ask, how would you go about finding your first paid gig as a cinematographer in medium-high level productions. (this discludes one-man team type content such as wedding videos, videos for small businesses, etc.) Here are the assumptions: Student X: Has just graduated film school with a decent reel with at least a base "sellable" quality. Does not own a cinema camera, and in f
  9. Very interesting observation. The idea of the digital vectorscope having a more diffuse point cloud somehow rings true for me thinking about a certain flatness to digital compared to film that I notice. Thank you for your response, and everyone else as well.
  10. I see, interesting. They did mention in the article a lot of bout skin tones in reference to film and digital, something about "letting it go red," but I forget the details. Thanks for your insight!
  11. Wow! A very interesting answer, one that I've never heard before as far as the digital debate goes. Thank you for taking the time to write this, it certainly seems like insight with a deeper understanding of the systems at play. P.S. How do you even get to know this stuff?
  12. In the latest edition of American Cinematographer, colorist Yvan Lucas says that the amazing saturation achieved in Tarantino's latest film "Once Upon a Time in Hollywood" comes: "partly from the print stock, 2383. Kodak came out with it about 20 years ago. This film print is very colorful, and the primary colors are really separated and very pronounced. It's almost astounding. You get true red, green, and blue - and Quentin told me 'When I see those colors, that's when I know it's film.'" My question is, what exactly is meant by "separation" on a technical level? Is this not possible on
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