Eric Gesualdo

Means a lot, Jeff. Thank you! Coppola is one of my favorite directors.

Thank you, David!

Wanted to follow up on this (better late than never, right?) This film ended up premiering in London at the 2021 Raindance Film Festival and then had a limited US-city run in Regal Cinemas. My first feature getting into legit theaters was a dream come true. I am currently in neck deep in the next feature that is to be shot next year.

What are some often overlooked but essential items that y'all professional DPs keep in your kit you take to set? No item is too small!

Thanks so much! I absolutely will do.

Hey gang! Some press regarding my first feature film is starting to come out and I'm really excited to step foot on set. We have been in pre-production for the past few months and some amazing actors have been cast such as Ty Simpkins from Iron Man 3 and Jurassic World and Anneliese Judge from Netflix's Sweet Magnolias. Here's a neat write up from Comic Book: https://comicbook.com/horror/news/iron-man-3s-ty-simpkins-to-produce-and-star-in-horror-film-where/ And if you're interested in learning more about the film/would like to invest and help out a talented group of young and hungry filmmakers, go to: https://wefunder.com/wheresrosefilm Thanks for all your support! A lot of your tips and guidance truly have helped me out of some jams.

I have a few night exteriors that take place in the woods. For my tracking shots, I was thinking of having a large soft source be kissing the trees in the background, while having my gaffer (low budget indie!) hold a china ball with an LED inside of it on a boom pole to light my actor while I track back with him in a medium shot. This method popped into my head because we don't have the units at our disposal to light 30 yards of this tracking shot. Does anyone have any experience with this method?

That's what I had assumed, just wanted to make sure I wasn't being cut out of anything I would normally be entitled to. Thanks for the reply!

I have a contract that doesn't mention I will receive any back end on upon the selling of the film. Is that standard or should I argue for it?

Apologies if this isn't the right forum for this particular question. I was wondering if there were any tips for maintaining a consistent exposure of an interior shot where you can see directly out a window into the outside? I have played with the thought of placing a double net or ND gel on the window but I'm not sure if that's the best method. Thanks for the help.

Thanks for passing those tests along! Incredibly helpful.

Thanks for all the wonderful feedback everyone, all incredibly helpful and will weigh my options. David, the second series of samples you provided are very much in line with the look I am trying to achieve. Do you remember if those had any filtration? Looks like some pro-mist happening there.

I'm in the process of putting together a lighting style for an upcoming horror feature that I am shooting. Will we be on the Alexa Classic. Question: When shooting interiors, are there perks to using a blue-gelled Maxi Brute rather than an HMI when it comes to simulating daylight? There will be tungsten practicals in the shot as well.

Also it was lit using Astera Tubes and 1 Litemat Gemini for the interior stuff, and the exterior is all natural light.

Hi there! This is my first music video as a working DP in LA and I'd love for your feedback. This was a 2 day micro--budget production shot on an Alexa Classic with Vintage Russian 'faux anamorphic' glass. I had to operate and pull my own focus which made some shots challenging at times.