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Danny Chastain

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  • Occupation
    Cinematographer
  • Location
    Seattle

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  1. Hello, I'm filming a steeplechase runner coming up and the director wants a shot of their cleat hitting the water with the camera right in the action. The camera is going to be on a steadicam, in low mode, close to the ground. Is there an industry standard to keeping a camera dry? It is likely that whatever filter we have in the matte box could get wet also, from the splash. Would we need to put shoot through something else that protects everything?
  2. Thank you, I appreciate your help!
  3. The plan is to remain fairly tight on the runner. We aren't planning to be too wide during this because it is also meant to be a dreamy sequence. The camera (alexa mini, cooke panchros) is going to be on a steadicam. We are going for a stylized look. Only a portion of the track will need to be lit up at any given time because the piece is centered around the approach to the start line, less the actual running of a race. We want to feel like we're in a dream, on a track. It doesn't have to be realistic necessarily. We aren't shooting any slow motion shots. We will have a gaffer and a grip dedicated to G&E, with other hands available to help. There is still potential that the location would have ability to turn on/off individual stadium lights. From a color temp standpoint, would an HMI match if we wanted to supplement as a fill or edge?
  4. Hello- I’m looking to recreate the effect of a stadium light for a track running sequence. We are hesitant to use the actual stadium lights because we want it to be more dramatic and aren’t sure if we will be able to individually control each stadium light. (We don’t have the location yet) We are shooting this scene at night but I am trying to figure out how much punch we’ll need. Is something like an Arri M40 enough punch/the right light in this situation? Any input is helpful. -Danny
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