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Mario C. Jackson

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Everything posted by Mario C. Jackson

  1. Guys I live in Virgina but when you shoot films you can be anywhere lol. But mainly just looking for a good young gaffer. Mario Concepcion Jackson
  2. Mario C. Jackson


    Hi guys its been a while since I posted anything lol but I been really busy. I am starting to shoot a few things here and there but one thing I always lack is a good gaffer. I am a young cinematographer and I was wondering was their a young gaffer out there who wanted to start a friendship and partnership with each other. Mario Concepcion Jackson
  3. Ross It all depends on what you are exposing for. Remember when you are trying to get a low level of light it isn't necessarily how dark something is but rather how much difference between the brightest and darkest point in the frame. For example if you expose one ball at T8 and the table itself at T2.8 the ball will definetley stand out because it is several stops brighter than the table. In theory your eyes go to the brightest part or thing in the frame first. Hoper this helps Mario Concepcion Jackson
  4. I would probably train under Gordon Willis, Bill Pope, or Zhao Xiaoding. I am currently studying under a local dp name David Haycox. He is a extremely talented man and is a wonderful teacher. David mentors me from time to time as well. Mario Concepcion Jackson
  5. Nicholas I just got back in the states yesterday. Just shoot me a e-mail. I will send you the copy of the last film I shot. my email is fallenrain14@hotmail.com Thanks Mario Concepcion Jackson
  6. If I were you I would just in that room and think about how to light it. Sit in that room and just meditate. There is no one way on how something is going to be lit. Every cinematographer lights and frames different. Some like one big source, others use multiple lights. Just be sure that you add your style to that abadoned house and not any one else. We can all tell you what we might do but ask yourself "how should I light this space". Hope This Helps Mario Concepcion Jackson
  7. I would love to shoot your project. I recently shot my friends thesis project. It was 50 min long. I am currently in Belguim shooting a reality TV show. I am 25 yrs old and I am a passionate person witha lot of heart. My e-mail address is fallenrain14@hotmail.com I hope to hear from you soon Thanks Mario Concepcion Jackson
  8. I would love to come to India and work. I dont't have a reel but I can send you a copy of the last film I shot. It was 50 mins long. I am currently in Belguim shooting a reality TV show. Just let me know if you are interested. Thanks Mario Concepcion Jackson
  9. Chris I am currently located in Virginia. Why? are you a gaffer or have hopes of becoming one? Thanks Mario Concepcion Jackson
  10. Hey guys I appreciate your advice and I will constantly pray that God sends me good friend and gaffer. Thanks Mario Concepcion Jackson
  11. Mario C. Jackson


    Hi It's been a while since I last posted anything on this site. Mainly because I have been busy shooting lots of projects. As a director of photography I find it hard to have a really good gaffer. Usually I have to explain everything down to the last detail and I rather not do that. I would really like to have a gaffer who can think on their own. Now I am not saying I am looking for someone to light my movies but rather someone I can have a long friendship and collaberation with. I am 25yrs old and soon to be 26. I am prepping a independent feature for August/September and I am worried that I am going to be doing to many things at once, instead of having reliable people I can trust and colaberate with. If anyone has any advice for me it would be great. Thanks Mario Concepcion Jackson
  12. I think it is a good idea to always use your light meter. I just finished a 50 minute movie that was shot on HD and I used my light meter every bit of the way. My meter was my safety net and it allowed me to be confident with the image especially when to monitor was not working. I usually dont trust monitors to much but that does not mean that I am right. Hope this Helps Mario C. Jackson
  13. Jason Congrats on all your hard work with the camera. I look forward on being able to shoot on it again. Hey if you need a dp for anything give me a buzz. Mario C. Jackson
  14. I tend to light fast myself but I will admit that sometimes it just takes time. Mario C. Jackson
  15. Mario C. Jackson


    Well I am pretty sure that everyone in here knows the value of a really good gaffer. I myself love having a really good one around with me on set. I just wanted to congratulate every gaffer out their who takes the craft of lighting seriously. I would love to have a gaffer, just one that I work with all the time so if their is a gaffer in here that wants to team up with a starting dp just let me know. Anyway this post is just to congratulate gaffers thats all. Thanks Mario Concepcion Jackson
  16. Whether Kodak or Fuji completley depends on how you wish to tell the story. If you want a more saturated look or desaturated look. If you want more contrast or whatever. The stock depends completley on so many variables. Hope this helps Mario Concepcion Jackson
  17. Mike I can see using a China Ball for the faces and HMI's for the background. I would probally use a 650 for a little edge light but thats about it. Also since you are shooting in a town square there will probally be plenty of nice practical street lights to add great depth and dimension to your shots. Hope this helps Mario C. Jackson
  18. Chris If you dont have dimmers just by you some streaks and tips from a salon store/hair store. Just lightly or heavily spray them on your practical lights. Hope this helps Mario C. Jackson
  19. Jay I totally agree with you. I dont see why the director would have a say so on who you hire as a grip or electric. In fact all grips and electircs are brought on by the Key Grip and Gaffer. Those two are brought on by the dp. I myself have been in a similar situation and it gets on my last nerve. I have never done a movie in LA, but on every commercial, independent film, etc.. it has never been run that way. Just keep your head up and stay focused on your dreams. This is only one of the many obstacles you must overcome. Hope this helps Mario C. Jackson
  20. From my experience you can tilt them as much as you like. I have never had a problem with them. Hope this helps Mario C. Jackson
  21. I probally would have kept that par outside going through a frame of 250. In the inside of the house I probally would have just used bounce card for the guys face and a 1k with full CTB with a croney to hit certain things in the frame. I would have exposed 2 stops under the highlights. Hope this helps Mario C. Jackson
  22. I am currently taking the electric route to becoming a dp, although I still shoot alot myself. Anyway I believe a dp should be a great leader on set. To me that is the number one priority. Second he/ she needs to trust their crew that they have. A dp should let the gaffer be a gaffer and let his key grip be a key grip. I have seen many dp's try to do everyones job on set and it usually pisses off the crew. When ever I am dping I expect my gaffer to know and understand lighting very well, I expect my key grip to know his craft the exact same way and the same goes to the 1st AC. I just believe a dp should have an idea of what he wants and then his team does whatever thay can to make it happen. Hope this helps Mario C. Jackson
  23. I agree with Adam. All the pictures look they are side lit. They probally used to soft sources on both sides and maybe a bounce in front of her face. But I strongly believe most of that was done in photoshop. A friend of mine did the exact same thing in photoshop. Hope this Helps Mario C. Jackson
  24. If all you need is the window in one shot then just blow out the window by adding your diffusion over it and then blasting the 2k through it for your establishing shot .After that you can just manipulate the light however you want it. Remember just shoot your movie one shot at a time. When it comes to close ups or medium shots just shoot the 2k through a frame of 250, 216, or whatever works for you and add dimension in the background. Their are many ways to do what you are asking for just find the one that works for you. Hope this helps Mario Concepcion Jackson
  25. Why would you even want a hard kicker if you already have two strong backlights and 2 other sources hitting your subject in front. I usually don't use a back light on the subject if I have a kicker. But it is totally up to you. There is not one set way. God Bless on your shoot Hope this helps Mario Concepcion Jackson
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