Mario C. Jackson

Hey Chris thats what I did. I overexposed the outside slightly and it look pretty cool. THe light I had coming from the window had this light blue look and it worked out fine. I guess when I post I should be more descriptive but nevertheless you make a good point. Thanks Mario C. Jackson

Joseph I might be interested in that stock of film. How can I get in contact with you to discuss the details. Thanks Mario C. Jackson

I have encountered the same problem you have and I put a ND filtetr in the camera and then I lit the interior to how I wanted it. The results turned out pretty good and got some compliments. The way I light may not be the norm, perhaps what the guys are saying is right and alot easier. I was letting you know I did and how it worked out. heel_e said the best thing by just shootin it at night time. Nevertheless figure out what you want and go for it. Don't be afraid to experiment and don't always follow the rules. You may have something thats crappy or you may have something that is visually stunning and pushes the envelope of cinematography. Mario C. Jackson

I was wondering if anyone has shot on 800 ASA? if so I was wodering if you could tell a little bit about it. I imagine it will work well under practical lighting. I am just want to know the advantages and disadvantages. Thanks Mario C. Jackson

One thing you could also do is instead of putting ND gel on the window is just put ND filters in the camera. Then just light the interior of the house like you want it. This will save you the time of gelling the window. Hope this helps Mario C. Jackson

24p is a good way to go but to me it doesn't look like film it still is video. I shot a music video over the summer using with the DVX-100 and I was very happy with the images that I got. I had a really good gaffer. Nevertheless 24p is good but the only way to get the film look is to shoot on film. Mario C. Jackson

Thanks very much guys. I am finding out alot now that I love practical lighting. It adds a sort of richness that is almost unreal. The most I do is add a light or to to compliment the practical or to pop up the contrast in certain areas. I really wanted to experiment with this stock and so I did. I will definetley post some pictures once I get the results back from the lab. Thanks Mario C. Jackson

I definetley will just give me some time. Mario C. Jackson

yes i did and everything was at T1.4, T2, or T2.8. Mario C. Jackson

Point well taken, I have used a vectoscope quite a few times. I also shouldn't assume that everyone's camera is like the ones I have shot on. I have got some pretty good pictures on my theory but nevertheless as you say every camera is different. Thanks a bunch guys. Thanks Mario C. Jackson

Hey guys last night during shooting, I use pretty much practical lighting. I was shooting pretty much at a 1.3 the entire day. Being that I have Kodak Vision 2 500T, I really wanted to see how it handle practical lighting. Sometimes I complemented practicals with a light source but alot of the time I didn't. My question is what do you think this is oging to look like in print. I pray that it looks good and natural. Thanks Mario C. Jackson

Thanks guys I am going to take everything into consideration today while I am shooting. Ultimately I think I am going to underexpose a 1/3 of a stop and then do everything else in print. Thanks Mario C. Jackson

Thanks very much guys Mario C. Jackson

So what do you think if I under expose the film 1 stop and then push a stop in the lab? One of the scenes that I am shooting, the director wants it to be very dark and almost barely visible. So what I was going to do was shoot a 1200 HMI through a silk coming in from the window. Then I was going to set a china ball on a dimmer and use for just enough ambient fill in the room. The lenses on the SR2 can go up to T1.3, with that in mind I was going to expose for a a warm T1.3 and then push it a stop in post. What do you think that will look like visually.

Hey guys I have a important question. If I am shooting on Kodak vision 2 500T and I properlly expose the film but then I ask the lab to push it a stop what will it look like. Thanks Mario C. Jackson

So is music videos and commercials a good way to make a living for dp's and directors. I am not in this for the money but was just wondering what is the pay like. Mario C. Jackson

These guys have posted some really good books and you should definetly try to get your hands on them. Also the best ways of learning lighting is to constantly do test. Whether film or video. I am currently studying 320T. I am really trying to push this stock from the lighting perspective. You can also watch movies without sound and pause each individual shot to study the lighting. Hope this helps Mario C. Jackson

Well first I will say that I applaud you director. I think directors are great but dp is the way for me. I really do think that you are going to be stretched by playing dual roles. I would find a gaffer who would work for practically for free. If you can not find a good gaffer then get a fast film stock and go with that. Mario C. Jackson

Hey guys I was wondering how hard is it to tap into the music video industry as a dp. Also how hard is it to get into? What do I have to do dp vidoe's for Coldplay, etc....

No offense to Chris but all you did what restate what I said. I said to not go by the LCD screen, I said go off a properly set tap. If one is not vacant then overexpose the LCD by two stops. The LCD screen is not acurate, it is 2 stops off than a properly set tap monitor. That is why I said to overexpose the LCD screen by 2 stops. Nevertheless the only way to find out yourself is to run test. Mario C. Jackson

My first suggestion would be to use a black promist filter on your camera. Do not use the 1/2 pro mist but a full promist. My next piece of advice would be to over expose everything 2 stops because the LCD screen on the PD-150 is 2 or 3 stops off than what the actual picture is. You could also get a properly set tap monitor to illiminate that problem. Also who ever your dp is tell them to shoot for a 640-800 ASA. If they don't have a light meter (spot or incident) then your school should have one. If not then tell them to light by eye and go off of the tap monitor. Also have your dp to give you good aspect ratio on your actors and to give use good but motivated contrast. What I mean by that is tell your dp to study your enviroments. By doing this they will be able to see where light comes in from, and how much practical lights help. You want your movie to look as natural as possible, you don't want your movie to look like it is lit. Hope all goes well Mario C. Jackson

Mauro Fiorre and Bill Pope are two really good cinematographers. I also think that John Mathison (Man on Fire) is really good. I might of spelled his name wrong. Mario C. Jackson

Hi guys, I know I ask alot of questions but how am I going to learn if I don't? Well my question is how can I keep my lighting consistent in a scene. My last video that I shot was pretty consistent and I want to keep on doing so. Anyway what is way that I keep the lighting consistant. I am going to keep a caertain exposure for each scene but how can I keep that consistency for cu, ms, ls, bs, etc.. Thanks Mario C. Jackson

I really want the lighting in the scene to look consistent, so I am thinking of using china balls hung really high and setting them to a dimmer. I am also going to see if set design will set up as many practicals as possible. Thanks

For the upcoming film I am shooting I have a few questions about lenses. I am really trying to work on my craft to be a dp. We are shooting on 500t. I was wondering if I am making the right decision by not exposing any lower than a 2.8 Also I want to shoot all close ups and medium/bust shots with a 50mm lense. Well any help woul be appreciative. Thanks Mario C. Jackson