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Tim Pfautsch

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    Student
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    Germany

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  1. Ha! I own the 17mm 3.5 and shot this spot on it (and Speedbooster plus Pocket4K) I now own a BMPCC6K Pro which I would want to shoot the upcoming project on, so no Speedbooster which is why I thought about using the Tokina 11-16 2.8 to get wider and faster. But maybe you are right, before polishing of coatings I am gonna order a couple 4x5.65 Clear filters and try to do what they did on with the ibe optics filters.
  2. Has anyone done lens modifications themselves? I am shooting mainly EF S35 cameras and it's hard to find funky (vintage) super wide angles as most vintage lenses are Full Frame from the film days. I thought about scraping the coatings off of a Tokina 11-16 and add some filtration. Ideally I'd love to mess with fall off and bokeh, but I don't even know where to start that. Any hints on how to start my custom lens journey is welcome 🙂
  3. This is going to be the location, hopefully. @David Mullen ASCthanks for taking the time! I would like to refrain from bouncing, puts stand into the wides, also the beams become visible through the haze. - at least in my mind. Did some thinking, I will convince the director to only show the wide as an opening shot and try to modify the chandlier so it's bright enough. Rest in mediums or closeups with toplights. @Christopher Santuccithe closeups are for sure toplit with a menace arm! No doubt about that!
  4. Hey people :-) I am looking for advice to light a quite big ballroom with a overhead chandelier. How to get a good room tone, how to pepper the frame in the wides. Its a lowbudget commercial so no fancy ballons sadly. My first instinct is to use the existing chandeliers in the wides, change bulbs for maximum output. Haze the room. Add some practicals to the mix to get some interest on the walls. I'd love to install somekind of big toplight, but time and money won't allow for that... Anyone who has some ideas? Greatly appreciated, Tim
  5. Hey, I have a K3 that I have not yet successfully used. At some point the bottom reel always becomes very loose and produces spaghetti. I narrowed it down to the following: I can not reproduce the problem when the camera is opening. But whenever I put the lid on the camera and I let it run for a few seconds, the film is wound loosely around the bottom. I feel like the bottom spool can not spin freely or smoothly because it gets stuck between somehow by the lid. Anyone know of such a behaviour? I already ruined two 100ft rolls of film. Its becoming expensive... Please help.
  6. Thanks man. Appreciate that. The director had a very strong vision, I just had to do what he had in his head. Really enjoyed this project. Hey thanks for the compliment! Not really a fan of nudity for the sake of nudity but thanks for the advice!
  7. Thanks guys! Appreciate it. Any feedback? First bigger project like this for me.
  8. This rather abstract short is really dirty, actors were young and supposed to have blemished skin, light is harsh on purpose. We had two 4x4 Kinos, Aputure 120D, Ice light, two 2x2 light mats. One AC, one gaffer. Shot on BMPCC4K with Tokina 28-70 2.6-2.8 (great vintage zoom) for handheld/more gritty stuff and Sigma 18-35/50-100 for the more colorful studio (the director wanted two different worlds). Budget was 1K€. 75% went to camera and lighting rental, 25% food. Link:
  9. That's great advice. Can't be bad to have a wide skillset. Also yes, I have already met some camera-focused DPs that asked me to light for them. I will stay on that! Haha yes thanks for grounding me. I was at the open door event in Babelsberg last year and was really discouraged after speaking to two camera professors. They basically told be that most of these cinematographers end up doing something else than cinematography... And yes, I have already made contact with some local gaffers and will try to meet all of them.
  10. Thanks for sharing your thoughts. It's just that I am lacking so so many skills, I do not feel comfortable selling myself as a cinematographer... yet. I feel like I need to watch some really skilled people work, be part of that team and learn.
  11. Dear Cinematagraphy.com community, I need some guidance. Next summer I want to start my freelance career in the film industry. My final goal is to be a cinematographer (duh) in the narrative world. I have been studying something very cinematography unrelated for the last 7 years and do not see myself working in that full time, because doesn't make me happy. Gonna get the degree nonetheless, if I fail in the movie business, I can always go back. But creating has always made be happy. During the last 3 years I have been shooting small music videos on the side and worked as a spark during my holidays (been on my first feature this autumn - it was exhausting but I fell in love with the process) I plan on trying to get more work in the lighting department (for cash), but I am unsure if that's the right way moving forward. Even though lighting has become my passion, I feel AC's have a much more close relationship with cinematographers, which could get me in the right circles? Also, I feel like finding a mentor would beneficial, but as I have mainly worked in the GE department I have no valueable skills to offer a DP on a real narrative set. What steps would you take moving forward? I am willing to put in the work. I know that getting where I want will take years if not decades. I don't know if it makes sense, I am going to link some stills from projects I shot myself that turned out good in my opinion, maybe that is going to be helpful to assess my skills?!
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