Roberto Hernandez

These are some of my favorite, newer cinematographers that I look forward to seeing more of their work Janusz Kaminski Mauro Fiore M. David Mullen :D

Okay so I bought a wide angle lens converter for my Canon XL2. It is a Digital Optics 0.5x Wide Angle Converter Lens with Macro 72mm thread to fit on Canon XL1,2 etc. So I screwed it on the lens but I didn't see any difference, well I saw VERY little difference. So I took it off and unscrewed the macro part from the converter lens and when I held up the wide angle lens part it looked great, I saw a MUCH wider view, only the threads didn't fit on the front of the XL2. The Macro part did fit however and it's great for close up shots but I can't use the wide angle part without the macro. Am I doing something wrong? The threading is much smaller on the wide angle part of the converter. Am I supposed to use it together with the macro because I can't see a difference. To me it looks like they cancel each other out. The only thing I do notice is that it will let me focus on subjects a lot closer to the camera. But the field of view does not change. Please help. :(

I'm looking for an inexpensive, low budget light for an upcoming project that will give me the same charactaristics as a 575 HMI par. I'm looking for something punchy to backlight some actors in a scene. The light would be motivated by a window in a small abandoned building with very low key lighting in the room. How expensive would buying a 575 HMI par be? And is there any low-budget tools I can use to create this lighting scheme. Thanks.

Great!! Lots of luck and take in everything!! Make friends/connections and get involved :D

What about my old canon lens on my film camera will that fit on a new digital canon camera body?

I was also wondering if Canon's line of EF Lenses will fit both Digital and Film SLR cameras.

I've been looking around the web to find out if the "i-Ring" net holder supports cannon photgraphy cameras as well as camcorders. The sites I have found lists the types of video lenses it supports. Before I buy one, I would like to know if it will fit on my Canon photography camera as well as my CanonXL2 camcorder. This is the information that I have found: The i-Ring fits over the rear of most standard 2/3" video lenses, B4 mount DV, Beta and Hi-Def cameras and lenses. Fits Canon, Fujinon, Optex and Angenieux Lenses. Sony Cameras: HDW F 900, HDW 700A, DVW 790, DVW 700, BVW-D 600, BVW 400, BVW 300, BVW 200, BVP 570, BVP 550, BVP 90, BVP 70, BVP 50, BVP 7, BVP 5, DXC-D 30, DXC 637, DXC 537, DXC 537A. Ikegami Cameras: HK 388 PW, HLV59, HL V55, HL 55, HL 53, HC 390, DNS 11. Hitachi Cameras: Z-One, DSR-130. Philips Cameras: LDK 100 Series. Panasonic Cameras: AJ-D810, AJ-D900. Okay, maybe I missed it but I don't think it mentions anything about still photography cameras. Since I don't know very much about lenses, I was wondering if anyone knew if it will fit my old school film canon zoom lens (55mm filter thread). Thanks.

Thanks for all the advice!! I really appreciate it, I wanted to keep my company name because I've used it since I was a little kid. But it sounds like it would be better to come up with a new name instead of risking the fact that it could cause problems or confusion. Thanks again!! hahaha, yeah I'm a Full Sail student :D

I hope my question is not way off-topic. My question is about the process of registering a name for your company. I am a filmmaker in a small town and I wanted to create a website that I could refer people to for information about myself or my films and services. After doing some digging and a little internet surfing I found that the name I would like to use already has a film website located in Australia and New Zealand. What should I do? Do I have to come up with another name? Does this mean that I cannot register this name because it is already taken somewhere else in the world? Can I still register this name in the U.S.? What I mean by registering is probably something like copyrighting this name. As for my website; the ".com" for this name is already taken but the name is still available as a ".net" address. Could I get this ".net" without running into problems with the other company? Thank you, any help would be appreciated.

I have not seen enough episodes of CSI to be a real fan but I have watched a couple episodes of CSI: Miami and I love the lighting! The colors are really great and the look of the show is amazing. I have stopped to watch this show just because of the lighting, its so well done that it just brings me in and I want to see more. One thing I really like is the nets that are used behind the lens (i think). Whenever they have a flashlight in the scene, they have the actors shine it into the lens and what you see is a great net artifact which brings a nice style to the show. I was just wondering what type of net is used on the show. I hope someone here might know by watching the show or maybe they might have inside information.lol. Anyway any help would be appreciatied. Thanks.

I was wondering if it matters if Blake is going for a fantasy or more realistic approach to his student grad. film?

Hey Glen, I have been trying to get in touch with you but your PM box is full. Please email me or send me a personal message when you can. Thanks. Roberto Hernandez celis3@juno.com sk8grom@msn.com

Thanks Guys! This has helped a lot. Thanks David, Tomas, Matthew. :D

I have an upcomming video project which I plan to shoot with an XL2. I would like to take advantage of the 24p feature for a film-like effect. I also know that I am going to be using CineLook for After Effects extensively in post. So my question is, do I shoot in 24p or normal mode if the footage is going to go through CineLook. I am aware that the program adds grain and mimics certain film stocks but does it also replicate film motion? Or am I better off using the 24p feature in camera? Thanks. Roberto

I am a little scared of this as well. I would like to use black netting behind the lens of an XL1. For fear of damaging something I thought I would ask before attempting this with the video camera. I have a couple photography cameras so I have experimented a little but I keep running into problems. Any help at all would be appreciated. Thanks. Roberto

I am shooting a miniDV project and I would like to know if there is a way to mount a net or stocking on the back of the lens. I have tried this with a Canon still photography camera and the net keeps getting in the way of the shutter. I have heard that there is something called an i-ring which can hold the net in place but I am not sure if this is only for a front lens mount. The only thing I have tried is to hold a stocking in place with a rubber band. Any help would be appreciated. Thanks in advance. Roberto

Smallville - Blank I just watched the episode "Blank". It was a great episode and the lighting just gets better. What stood out for me in this episode was the atmosphere in the sets. My favorite was the golden shafts of light in the Kent kitchen. And the scene following with Lana and Jason in their room above the Talon also seemed to have light coming in through the windows and a light mist of atmosphere. It really seperated the actors from the set and gave depth to the scene. It reminded me of some of my favorite DPs like Conrad Hall and Janusz Kaminski. I love that my favorite show looks better than all the other shows on TV! I would like to know how to get the golden shafts of light in the Kent kitchen and if you (Glen) use CTO or Straw. Also I would like to know what type of smoke or atmosphere is used to get the shafts of light. And if I could achieve the same look using a mini-fog machine. Please, keep up the awesome work, I can't wait till next week. Many Questions to come, I'm sure. Sincerely, Roberto Hernandez celis3@juno.com

Hi I am also trying to get some experience with the Schneider Classic Soft 1/2 since hearing about it from Glen. I am a student at a film school and I am trying to get my hands on some but I have yet to find any at school. It looks great on the show and it adds a nice subtle effect. Hopefully I can experiment on getting that look soon.

I was wondering why Kaminski would do this? I know he likes to use smoke, filters and nets alot, as does Richardson. I've heard he also likes to work fast and smoke is very time consuming. David, I was wondering if you knew of any other reasons for fogging almost every set since you have a lot of experience with smoke. Also what type of smoke did you use on Northfork and can you get the same effect using regular foggers. I watched the bonus features of A.I. and every set does look heavily fogged. But on film you don't notice it as much unless you look for it, I think mainly because it fits with the story.

I read somewhere that the WB's Jack and Bobby is shot in HD does anyone know of this or has anyone watched. I've tried to compare it to similar shows on the WB that I know are shot on 35 or 16 and I don't see much of a difference.

As a student at Full Sail, I do hear others say what a wonderful experience this is as well as those who say it is crap. I have had a great class and feel very fortunate because I have learned so much and I hear the same from my classmates. My class seems to be very passionate about learning so there isn't a lot of negativity, we all love making films and it never feels overwelming because that is what we're here for. I wish we could have more film projects before I graduate! During production we can only work up to 12 hours a day. Where I have felt overwhelmed though, is in my business courses, where sometimes you do go about 16 hours. As Rob mention before we do have some strange call times sometimes but our classes our always structured, we get our schedules every month and we have to fit our sleep hours around that. So that can be hard, especially for me, as I have a hard time getting up early. But it never becomes exhausting, our projects last about 4 days at the most and then we are back to our regular classes. I am in my 11th month here at Full Sail and I feel I have learned a lot. It is an expensive school though, I am not by any means wealthy, but I feel very fortunate to have found this school.

The best advise I have is to fog the entire room evenly. The first time I tried to fog a set I only fogged where I wanted to see the light and of course the fog dissipitated before I could get the camera rolling.

This is by far, my favorite of the Harry Potter films. Alfonso Curon did a fantastic job as did Michael Seresin in this chapter as the kids grow up. The look of the film is very unique from the first two films and I was wondering if Seresin might have used the bleach bypass process during most of the film, especially in the beginning. The film seems to be very silver-looking and desaturated. I loved the first film, it was very magical. The films seems to be maturing nicely.

Rob Yes, towards the end of the program our classes run about 16 hours a day. But you get used to it as the hours steadily increase and it prepares you for what a project might be like. As for access to the equipment, you are welcome to it if it is not already in use for a class project. This is usually not a problem because they have tons of good equipment.

Full Sail costs around 35-40 grand. Like Grimmet says "it is what you make of it", this is completely true. Full Sail started as a school for recording arts but has become much more. I am a student in the film department and we get to work with just about everything. Our projects are shot on video, 16, and 35mm. The Lighting department is great, all the equipment you'll ever come across and the Lab techs and Professors are full of experience and very helpfull. The soundstages are open for any student to get as much expierence as possisble. This is a great place to learn and try anything you want or are curious about because it's all here. It is quite expensive but it gives you a hands on experience and what I like best about the school is their placement department, which helps graduates find jobs. Full Sail also lets graduates come back to audit any class or new class in the future for free.