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Philip Reinhold

Recent Work and Hello

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Hey there,

I just wanted to introduce me and some of my work here.
I dedicate most of my time to be a father and cooking for the fam. In addition, I have been working as DP since 15 years now, mainly in the advertising sector in Europe & Asia, but´ve worked for some US Clients as well.

I am a big fan of experience exchange, so that's why I'm here & I still love the classic cinema theatre.

Apart from my Agents, i've never cut a reel of my work together so here is a few of my work as vimeo links.

 

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Welcome to the forum! Pretty gorgeous work! 

Love the "Rejoice" commercial and the "Coca Cola" one especially!!! The softness in the image between the blacks and whites is really beautiful! 

Every time I try to do that I fail completely! 🤣

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51 minutes ago, Miguel Angel said:

 

Love the "Rejoice" commercial and the "Coca Cola" one especially!!! The softness in the image between the blacks and whites is really beautiful! 

Thanks very much! For these two I also fought to participate in the color correction. I used Alexa Minis with Master Anamorphics for Rejoice and for Coke i remember it was a Alexa Studio & Mini with Cooke Anamorphics.

I usualy use my own LUT for those midtones, which I always give the Dit in advance. Also i underexpose the Alexa by 1 stop and use higher ISO to keep the Highlites. For this reason I have another monitor LUT to keep the clients calm. 🙂

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Beautiful! Would love to see a breakdown of any of your lighting set-ups. Did I see a brute practical in the train scene for the rejoice ad?

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15 minutes ago, Joseph Tese said:

Did I see a brute practical in the train scene for the rejoice ad?

Sure i can do some breakdown. Maybe later today & maybe select a scene and i´ll try to remember and find bts to do it. Yes, I used 12x1K Dino Brutes in the station to bring in some Depth. In general, I like to use tungsten units.

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On 11/1/2019 at 1:13 PM, Philip Reinhold said:

Thanks very much! For these two I also fought to participate in the color correction. I used Alexa Minis with Master Anamorphics for Rejoice and for Coke i remember it was a Alexa Studio & Mini with Cooke Anamorphics.

I usualy use my own LUT for those midtones, which I always give the Dit in advance. Also i underexpose the Alexa by 1 stop and use higher ISO to keep the Highlites. For this reason I have another monitor LUT to keep the clients calm. 🙂

You're more than welcome! 

Nice to see somebody else using high ISOS and underexposing the Alexa!

I usually shoot at 3200ASA and underexpose it by 1 or 2 stops too! I love the noise! 🙂 
Hopefully @Satsuki Murashige will start using high ISOS soon now!!! 😉

Definitely my midtones (and I'd say that my overall image) are pretty contrasty as opposed as yours, which have a really subtle gradient, Love it! 🙂

Have a lovely day!! 
 

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2 hours ago, Miguel Angel said:

Hopefully @Satsuki Murashige will start using high ISOS soon now!!! 😉

I actually went down to 400 ISO for a dark night scene on my recent shoot. I’m scared of those high ISOs Miguel! Someday I will find a project to try it out on... 🙂

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Yes, I also find it interesting that you can play with the ISO of the digitals especially the alexa to adjust your dynamic range balance.
And I feel that I like pictures with more details in the highlites to appear more brilliant than having more details in the blacks. I also lika a bit of punch/kick in the highlites, but I still want to see the details in between. That's what we are also used to from film. And digital still have a lot of problems with that. After some camera tests, I found my ISO at 1600. I dont use it always, but often. Also in the dark people are used to missing a lot of details anyway, that's the exciting thing about the darkness, the audiance should respect the darkness a bit. I also like the grain/gain structure from higher iso, because it makes the picture a little more alive. Esp. if you have steady Tripod shots. Im a huge Fan of Kodak 200T.

About the Look is a fight in the advertising world anyway. I usually go straight proress444 with the Alexa, I do not want to give the colourists many options, they can mess up your work so quickly, and it's a shame that many productions & agency producers are not letting the DP & Director become part of that process anymore. I really have to fight for it. Sometimes I still get my fav colorists and sometimes they let a young junior destroy your work because they are the only available option in the postproduction house or do not have enough experience to guide the clients and many are permanent employees who simply want to go home asap...

Edited by Philip Reinhold
gramma… but you will still find some mistakes.
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On 11/3/2019 at 8:59 AM, Philip Reinhold said:

Yes, I also find it interesting that you can play with the ISO of the digitals especially the alexa to adjust your dynamic range balance.
And I feel that I like pictures with more details in the highlites to appear more brilliant than having more details in the blacks. I also lika a bit of punch/kick in the highlites, but I still want to see the details in between. That's what we are also used to from film. And digital still have a lot of problems with that. After some camera tests, I found my ISO at 1600. I dont use it always, but often. Also in the dark people are used to missing a lot of details anyway, that's the exciting thing about the darkness, the audiance should respect the darkness a bit. I also like the grain/gain structure from higher iso, because it makes the picture a little more alive. Esp. if you have steady Tripod shots. Im a huge Fan of Kodak 200T.

About the Look is a fight in the advertising world anyway. I usually go straight proress444 with the Alexa, I do not want to give the colourists many options, they can mess up your work so quickly, and it's a shame that many productions & agency producers are not letting the DP & Director become part of that process anymore. I really have to fight for it. Sometimes I still get my fav colorists and sometimes they let a young junior destroy your work because they are the only available option in the postproduction house or do not have enough experience to guide the clients and many are permanent employees who simply want to go home asap...

Quite interesting. 
I suppose that we are in different markets and at different levels!! 

On the commercials I shoot, I always go to the colour grading because I'm always invited and the director always makes sure that I'm invited by the client and the agency.

Maybe in top end commercials the relationship with the client / agency is different?? I'm looking forward to finding the answers haha.

By the way, if you haven't tried it, give the Venice a test, higher ASA like 5000ASA or 10000ASA creates beautiful noise in dayllight!!

Have a lovely day Philip!

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13 hours ago, Miguel Angel said:

On the commercials I shoot, I always go to the colour grading because I'm always invited and the director always makes sure that I'm invited by the client and the agency.

sure me and some directors ask for it most of the time. Sometimes it works out, but often the ad-agencies / clients like P&G, Unilever & co. have post-production deals with mpc/the mill/company3… which handles all their edits, onlines and the grading is then 1-2 weeks later at the other end of the world. I always give my notes and try to get a chat with the colorist. But its super rare that productions/clients wants to pay for the participating/supervising of the grading day these days, not even flights to london/ny…
Most of the time is ... Job request 1-3 weeks before the gig - flight to location - recce - maybe another day of preparation - shooting and flight back home / next gig. that's the usual flow for many international gigs right now. I also know directors which fights & gets their own colorists. Some Postprod. are cool with that but some Postproduction Houses can be… who knows… But the advertising market is constantly changing. Right now there are popping up more and more small boutique productions run by the Filmmakers/Directors themselves and they get more creative- control again. However in the end I just want to have a nice result which makes me happy as well. This is not always easy with advertising.

have a lovely day as well!
 

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On 11/9/2019 at 3:41 PM, Philip Reinhold said:

sure me and some directors ask for it most of the time. Sometimes it works out, but often the ad-agencies / clients like P&G, Unilever & co. have post-production deals with mpc/the mill/company3… which handles all their edits, onlines and the grading is then 1-2 weeks later at the other end of the world. I always give my notes and try to get a chat with the colorist. But its super rare that productions/clients wants to pay for the participating/supervising of the grading day these days, not even flights to london/ny…
Most of the time is ... Job request 1-3 weeks before the gig - flight to location - recce - maybe another day of preparation - shooting and flight back home / next gig. that's the usual flow for many international gigs right now. I also know directors which fights & gets their own colorists. Some Postprod. are cool with that but some Postproduction Houses can be… who knows… But the advertising market is constantly changing. Right now there are popping up more and more small boutique productions run by the Filmmakers/Directors themselves and they get more creative- control again. However in the end I just want to have a nice result which makes me happy as well. This is not always easy with advertising.

have a lovely day as well!
 

Thanks for the insight Philip!!!! 
I'm definitely looking forward to facing those problems ha! 

Can I ask you what's the average budget / day of any of your commercials if you happen to know it? 🙂

Thanks again! 🙂

Have a lovely day!

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9 minutes ago, Miguel Angel said:

Can I ask you what's the average budget / day of any of your commercials if you happen to know it? 🙂

Most of the advertising projects I've done lately have been between 1 and 4 days of shooting. For example, Weleda is 1 day, Rejoice was filmed in 2 days, Coke was 3. Depending on Board & Locations the avg. productions often range between 150-650,000 USD. Yeah, that's just rough but i often even do not know that.  But some producers like to call everything under 200k low budged and that they have close to no money at all if it's under 150. 🤔

 

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