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Adam Cohen IMPOSTOR

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Everything posted by Adam Cohen IMPOSTOR

  1. Adam Cohen IMPOSTOR
    Great topic, thanks for sharing your views!
  2. Adam Cohen IMPOSTOR
    All I can say is... totally worth revisiting and great choice of settings!
  3. Adam Cohen IMPOSTOR
    Excellent work will share it with a few others!
  4. Adam Cohen IMPOSTOR
    Really interesting. Thanks for sharing. Looks great so far!
  5. Adam Cohen IMPOSTOR
    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
  6. Adam Cohen IMPOSTOR
    http://popcornandvodka.com/2015/02/26/adam-cohen-cinematographer-sea-horse/
  7. Adam Cohen IMPOSTOR
    http://popcornandvodka.com/2015/02/26/adam-cohen-cinematographer-sea-horse/
  8. Adam Cohen IMPOSTOR
    Will sell individual rolls or grouped.
  9. Adam Cohen IMPOSTOR
    Will sell individual rolls or grouped
  10. Adam Cohen IMPOSTOR
    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
  11. Adam Cohen IMPOSTOR
    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
  12. Adam Cohen IMPOSTOR
    Thank you for sharing that, loved it!
  13. Adam Cohen IMPOSTOR
    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.
  14. Adam Cohen IMPOSTOR
    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
  15. Adam Cohen IMPOSTOR
    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.
  16. Adam Cohen IMPOSTOR
    Thanks guys. Just the info I was looking for. I'm going to Kodak tomorrow and picking up the '17 stock.
  17. Adam Cohen IMPOSTOR
    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
  18. Adam Cohen IMPOSTOR
    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
  19. Adam Cohen IMPOSTOR
    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
  20. Adam Cohen IMPOSTOR
    Hey everyone, I'm scheduled to DP a short film that takes place in a living room and kitchen. I know I'm using a 2:1 ratio and a lot of soft light. I'll have a 10K, a 5K, and a couple of tweeies. I was thinking about using either 250 diffusion or tracing paper over the windows and blowing them out slightly. Curtains are not an option and no background scenery will be used. It will be shot on Kodak 5218 Vision 2. Do I cover the lights with CTB to simulate daylight or just shoot them naturally as Tungsten to get the "white" sunlight? Just looking for some creative ideas that will make it look nice without having to destroy a frame with a blown-out window and still giving off enough light to simulate a 10a.m. scene that is elegantly lit. Any input is well-appriciated, Adam Cohen DP, Los Angeles
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