Mario C. Jackson

Hey guys I am set to shoot a film in the end of October. It will be shot on 500t and we are going to push the film stock. Anyway in one of the scenes I have to figure out how to light a party scene inside of a apartment. A few people are dancing on the floor and others are sitting in chairs/sofa. Any recommendations would be helpful. Mario C. Jackson

you could use the lighting that is already in the bar. Also you can use some china balls set to dimmers. You can add pools of light in certain areas by using 100w-300w with gels on them to give them a little color. Mario C. Jackson

Personally I am becoming more of a fan of the Enhancer but I still love the Polarizer. What do you guys think? Could you use it indoors? Could you use it outdoors with the polarizer? If so what would it look like? Let me know what you guys think? Mario C. Jackson

I think story boards are very useful for a dp. Especially if he is added to a project at the very last minute. This allows he/she to see visually what is going to take place and also gives them a idea of what the director wants. I also believe that all dp's should learn how to shoot on the fly. You never know the situation that you are in. Mario C. Jackson

Here are the two best new Dp's in my book. Mauro Fiore Bill Pope In a cinematic sense these two guys can take visuals to a whole new level. Mario C. Jackson

What I was meaning was I really want the visual to be stunning. I want to take the directors vision and make it breathtaking. I know the story is going to be great and I much confidence in the director but it is my job to make sure that the visual aspect is there. All I am saying is that I want the movie to not only be good direction wise but cinematically as well.

David I am really glad that you responded to my post. I really want to be a cinematographer. My next movie is going to be pretty big. I am going to have to pull alot from both the camera and lighting. I will be shooting on 500T and using a 16mm SR3 camera. The movie is a psychological drama. I really want this movie to tell a story cinematically. The director will do a wonerful job with the story but I want to take the audience to a entire different place visually.

what is the best way to shoot a close up. I usually set up a tweenie with 216 diffusion, with a bounce, behind the camera raised about 1ft higher than the camera. Then I use a 420 fresnal with tough spun as a back light. Tell me what you guys think. Thanks Mario C. Jackson

Thanks everyone for your advice. I will keep everything in mind during production.

So how can I achieve the graininess, color contrast and deep dark shadows found in Domino

For my next film I want to play alot with underexposure. I am hoping to shoot on super 16mm (SR3) and 500T. My question is how can I achieve a underexposed look with yellowish hot spots. For example if anyone has the seen the trailer for Tony Scotts new movie Domino, you will know exactly what I am talking about. Thanks Mario C. Jackson

I usually use a pepper for a light. Position it about 8 feet away from the subjsect and put ND6 gel and some diffusion on it and just position it on the eyes. Hope this helps

I think that more people are beginning to use soft likes because it looks more suttle and believable. Especially for interiors, you hardly ever see hard lighting. Most lighting in a house is practical, which is soft and textural and at the same time realistic.

Hi my name is Mario Jackson. I am very fascinated with cinematography and I dp almost anything I can get my hand on. I am currently a student in film school. Anyway I have a huge question to ask. For my next movie I want to use a polarizer for all indoor scenes. I really want the colors to be deeply saturated and under exposed. I was just asking to see what you guys think about it.