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Joseph White

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About Joseph White

  • Rank

  • Birthday 11/02/1978

Profile Information

  • Occupation
    Cinematographer
  • Location
    Los Angeles, CA
  • Specialties
    Cinematography, cooking, hiking

Contact Methods

  • Website URL
    http://www.josephwhitedp.com
  1. Really nice work overall - some great contrast, interesting shadowplay esp with the shadows on the dead girl in that overhead shot. Really good stuff. Nice variety as well.
  2. Posted this on another section, but figured I'd try it here as well - would love any feedback on content/layout/anything. www.josephwhitedp.com Best, Joe
  3. Hey everyone, been a long time since I've posted. Hope this finds you all well. I recently updated my cinematography website and would love some feedback/thoughts on anything - content/style/layout - everything! www.josephwhitedp.com Best, Joe
  4. I just finished two back-to-back movies on the ALEXA - one on SxS cards in Prores 4444 and one on HDCAM SR on a Sony deck, and both were shot 2.35:1 - images came out great, and even though we couldn't shoot anamorphic, the image quality was pretty astounding. Another factor is your locations and conditions - I've shot numerous things on REDs in hot, humid, or extremely cold environments and had problems - we were shooting all over the jungles in Singapore during monsoon season and we were never down. This might not be a huge consideration for you, but the ALEXA overall just seems so much more durable, if that's a concern.
  5. Thanks David! I haven't been able to find any Master Zooms in Barcelona - the Fujinon looks great too. Will explore!
  6. Hey everyone, prepping my second ALEXA feature "11-11-11" in Barcelona - can't wait to get there this weekend - but concerned since it looks like I'll be using Ultra Primes (for the first time!) and am wondering which is the best zoom lens out there in terms of matching (color/contrast). The director and I have done two other films together and he's done 3 other films beyond that, ALL on Panavision lenses (usually Primo primes and zooms) so have never had to think about this. On HD projects in the past that were non-Panavision I always used Cooke S4's and Angenieux Optimos and thought they blended fairly well - should I just use Optimos as well with the Ultras? My director is ZOOM CRAZY and always wants one at least on b-camera. Thoughts?? Cheers, Joseph White
  7. I graduated from the MFA program at USC in 2004 and shot tons of film there, both in classes and in the 14 or so thesis films I shot. I know that recently they have been selling a lot of their older 16mm cameras (Arri-s, a couple of Aaton LTRs) and that video has largely replaced film in actual classes - but USC only has about 3-4 cinematography classes TOTAL (frustrating to me when I went there as an aspiring DP) and I believe in the Advanced Cinematography class they still shoot 35mm. I know that for student thesis projects, however, students still shoot a LOT of film currently so while in the few cinematography (and directing) classes it's largely gone, lots and lots of students at USC still get to shoot film.
  8. Thanks so much for all of your advice everyone! Will let you know how it goes...meeting with the camera house today...
  9. Great looking stuff Charles - sorry I owe you and email - sweating away here in Singapore....
  10. Hey everyone, I'm prepping a micro-budget feature film right now in Singapore (first time in Asia - this is truly an amazing city!) that we begin shooting very shortly and we're still basically deciding between these two cameras. Budgetary constraints have basically dictated that if we want to shoot RED, we will shoot MX - which is great - but if we want to shoot Alexa, we have to shoot onto the SxS cards in Prores 4444. My question is this - I've had so many people tell me that unless you are doing something for television or web, you HAVE to shoot RAW. Problem is, we have SO little money that the difference in cost between the cards and the deck is a deal breaker. My main issue is that we are shooting during monsoon season in Singapore and we have TONS of day exterior work in all of the old canals, abandoned schools, along train tracks and will have few resources to really control much of what we get during these scenes. Director is super cool and doesn't want to shoot tons of coverage (I've been spoiled by someone who wants her film to resemble Days of Heaven, Red Desert, and George Washington haha) so I'm not super concerned about matching lots of shots within a scene with rapidly changing light, but since all of her visual references are fairly low-contrast, naturalistic images I need a camera with as much latitude as possible. So obviously this lead me to pursue the Alexa since it is purported to have a greater range, but the compromise is the capture format. Anyone have any thoughts on this? So little Alexa footage is out there now and most of the cinematographers I have polled haven't used it yet. Anyone here have any advice? I've shot several features on the RED ONE and several commercials and music videos on the MX and I'm slightly concerned about my highlights and the ultimate lack of control I'll have on set. Any and all feedback would be greatly appreciated - I'll post some images once we start filming as man these locations are unreal... Best, Joseph White
  11. Joseph White

    Aaton 35

    is this aaton still for sale by any chance?
  12. saw the demo of this stock this past wednesday and was really impressed. there were three short films on a 35mm reel, all done with the provision from fuji that they could shoot whatever they wanted as long as they had a variety of different skin tones to show how the eterna vivid 500t responded to them. these films were made by Dion Beebe, Kramer Morgenthau, and Phedon Papamichael. all took a slightly different approach to the tests, but all definitely went after a series of extreme lighting conditions to showcase the stock's high contrast, deep saturation look (ie Papamichael shot some people dancing by bonfire with no additional sources, Beebe had some great night exteriors, Morgenthau had some theatrical lighting with some extreme ratios). all in all it's pretty excellent. they really took some risks with this stock - and the grain is pretty damn fine for a 500t stock, yet you still feel like you're looking at film. this is now a very strong contender for the film Mothers Day i'm prepping. the stock officially comes out in september. i guess if we use it, we might be one of the first features to do so...
  13. Anyone do this on a feature yet? Pros/cons? Debating it for my next movie I'm prepping up in Canada. Shooting 2-perf Super 35mm. Want something good looking for dailies that's convenient for everyone, in addition to FTP'ing everything. Anyone have any experiences to share?
  14. nice stuff overall - some nice composition and some nice lighting in the bar scenes. one thing i'd suggest is just avoiding repetition in the reel as a whole - once you've used a shot or scene, don't come back to it as it gives the impression that you're trying to bulk up the reel time-wise. it's totally OK if your first reels are really short - even if it's like 2 minutes - as people want to see variety.
  15. Sweeney Todd has an absolutely gorgeous transfer. I just got The Watchmen which I'm excited to see today. And, shameless plug, but Repo! The Genetic Opera, which I shot on Genesis for Lionsgate, cinematography aside, has an absolutely stunning transfer - Genesis to Blu-Ray is a beautiful thing. And since it made no money in theaters, it's a BARGAIN at amazon and your local mega store :)
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