Aaron Bernakevitch

Leica R's. great podcast here with the DP's. They don't mention the cooke's https://www.youtube.com/watch?v=_OTKwfclN1M Happy Shooting!

Hey Mike Thanks for all the help and suggestions, i appreciate it. I feel that trusting my eye over the meter would be a good idea. If that is the case, do you think it would be a good idea to over expose 1/2 a stop just in case I lite something a little too dark?, then they could stop it down at the lab if the exposure was bang on. I guess it comes down to trust, but I alwasy like a plan B if something goes a rye. If i do over expose I guess i would losse 1/2 a stop off the bottom of the latitude of the film, then when they printed down at the lab all the blacks would crunch down and I would loose my detail. Would this be noticable? Also Have you ever worked with contrast filters? i am planning to use the 1/4 pro mist blk but after reading about the tiffens contrast filters i feel it might be a better approach. Let me know Aaron

Hey Mike Yeah thanks for the suggestion, the reason for the pro mist, is that we are filmming a sort of femme fatal noir, that glamour 40's look. So i figured the 1/4 pro mist would give it that soft beauty look, well keepin alot of the shadows sharp and lights sourcy, what do you think. The noir has sort of a pastish(mixed time periods's) yet still trying to retain the basic characteristics of a film noir. What do you think? Aaron

Hey guys Thanks for all the suggestion and film ideas, i appreciate the shared knowledge. Now i have a couple more questions. What is the best way to seprate haze (from a haze machine) from the front of the lense, if you are trying to sell the back ground as this hazy atmosphere and yet keep the talent and front part of the image clear. Also I am thinking of using pro mist blk 1/4 in conjunction with most of my shots. Will the haze machine and this filter work well together or will the image become too foggy? As for the film stock i have choosen to use the 7218, i think it will give the cleanest negative possible, due to the small light kit i feel slower films would limit use from lighting master shots (i feel i will need to use more lights than normal to focus on lighting dress elements). Will this stock be ok witha lot of the shadowy shots? or am I sending my self up the creek? Let me know. Our light kit is all tungstun with the biggest light being a 2k., Questions comments concerns Aaron

Hey Guys Seeing what your ideas are for lighting film noirs. I have never D.P'ed' anything so night and contrast drivin. I have been watching alot of the oldies and taking pointers from all the epics noirs - The Cabinet of Dr. Caligari, a lot of fritz lang and some newer films. Wondering if you guys have any good pointers for lighting styles or suggestions for proceesing looks weather in camera or post. Also I heard it might be good to overexpose 1/2 stop just to make shute you get all of the info and them you can stop it down in post - is this a good idea? Also I have used a fog machine before but never a haze machine, we are talking about using this for our shoot - any suggestions for that. Any comments questions or concerns are appreciated ---I am using a pretty average light kit, no h.m.i lights as big as a 2k thanks Aaron

Sorry, Just one question, but I like the suggestion. "When done take the glass and put it in one of the bins nest the other bin over the first and tape closed." Nest? do you mean slip on into the other? ) --->) Or is this just for storage? Sorry kinda confused or is it apart of the effect? Let me know But thanks for the idea Aaron

Hey Guys & Gals, New to the forum, I am a video editor gone prosumer D.P, and and working a theatrical based show shot in 16mm, we are using vision 7217 (200 ASA) and are shooting a ext day forest/dock.ocean scene in the studio. The ocean is pretty much blue sheets waving, shot with side lights to make it look contrasty, what i was hoping to do was sell the fill light as the reflections off our created water. What is the best or some different ways to create this effect, if you know the movie "down by law"-Jim Jarmusch I am going for the effect of the water on the wall of the tunnel as they run down the sewars. If it best to use a mirror and reflect hard light off off a low plane of water, or is it better to shoot throught a clear glass container and have the water moving. I am looking for a cheap way to create the look of a relection of water, we have acess to lights under 2k and an array of filters, color gels and correction. Are my above ideas close? or am I far off the map. I have tried these ideas but only to get minimal results. Suggestions, questions, comments or concerns Thanks Aaron Berns