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Adam Cohen

Sustaining Member
  • Content Count

    13
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About Adam Cohen

  • Rank

Profile Information

  • Occupation
    Cinematographer
  • Location
    Los Angeles, New York, Paris
  • My Gear
    ARRI, RED, PANAVISION, SONY, PANASONIC
  • Specialties
    4K HD, 16 & 35mm, PADI underwater certified, Aerial Drone Owner/Operator, High-Speed/Slow Motion experience.

Contact Methods

  • Website URL
    http://www.adamcohendp.com
  • Skype
    adamcohendp
  1. Adam is an award-winning cinematographer specializing in 4K HD, 16mm & 35mm. PADI certified, Aerial drone owner/operator. Looking for work. www.adamcohendp.com Resume_Cohen_09:2015_revised_local600.pdf
  2. I am selling 9 rolls of 5219 (400' rolls). The film has been properly stored and all the cans are sealed. Asking $1,300. If you are interested please email me at: adam@adamcohendp.com
  3. http://popcornandvodka.com/2015/02/26/adam-cohen-cinematographer-sea-horse/
  4. Will sell individual rolls or grouped.
  5. I am selling 9 rolls of 5219 (400' rolls). The film has been properly stored and all the cans are sealed. Asking $1,500. If you are interested please message or email me at: adam@adamcohendp.com
  6. I am selling 9 rolls of 5219 (400' rolls). The film has been properly stored and all the cans are sealed. Asking $1,500. If you are interested please email me at: adam@adamcohendp.com
  7. Thank you for sharing that, loved it!
  8. Operating is a craft in and of its own. Steven Poster recently wrote a letter in ICG that's worth taking a look at. It talks about the benefits of being able to step away from the camera.
  9. http://about.me/adamlcohen *click on the vimeo or youtube links at the bottom of the page to view my reel. Thank you for your time! Adam Cohen
  10. The shot on the bridge in Amélie the camera is on a crane and does a 180 rotation over her head while pulling away. Gorgeous shot. One of the reasons I became a DP. From the end of the shot: The whole film is fantastic and riddled with great shots, both compositionally and with camera movement.
  11. Thanks guys. Just the info I was looking for. I'm going to Kodak tomorrow and picking up the '17 stock.
  12. I'm shooting a small budget film on 16mm with the SR3 this weekend. I have both interior(Sound Stage) and exterior scenes, a majority of which is exterior. I want the film to have a certain look throughout the entire project so I bought some 7218 from Kodak. I was thinking for the day interiors(Metro Bus) and exteriors(Street) of throwing on an 85 filter and ND'ing it down, the lighting will be natural; maybe some tracing paper on the windows and foamcore. My main concern is the grain and the color being consistent; also I like picking a stock and sticking with it for the entire film. I still have time to restock but no time to test. Should I grab some 7201 or 7205 to be safe? Thanks, Adam Cohen DP, Los Angeles
  13. Thanks, very informative! I know that I want very little difference between the key and the fill but something that is noticeable nonetheless. The film is a dark comedy, so I was looking to use the key as a fill by bouncing it off of a white wall and also by making it very soft so it wraps around the actor. The main character is a white male around 75 years old. I want to expose his age through wrinkles and yet I don't want to hard light from the side. I think I have my plan of attack figured out, but I'm glad that I am able to get some advice before I jump into the project. Thanks, -Adam
  14. Adam Cohen

    Blue Cyc

    Tell the producer you want to shoot it all with flashlights. The maglites. Either she'll give in, or your talent will be walking around with flashlights. Realistically, large chinaballs from the ceiling, and some kino divalites 400 in front. The flashlight trick only worked once for me. -Adam Cohen DP, Los Angeles
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