I will be glad to hear what you think of my reel if you can watch it.
If you do, the 2 girls in the lake is day for night (1.37 min), what do you think about it?
Thanks alot, Ariel
I wont have the chance to try different lights, because up to the Budget I will need to rent just what I will use. Would you throw a 10K (1/2CTB) through each window to achieve that look or what would be your setup?
The sun is only dimmer if it's going through haze and/or cloud cover... on a clear winter day, it would still be fairly bright. If it is hazy outside, then the pattern would not be as sharp. I think a dim but sharp pattern would look theatrical... unless you are talking about the very beginning of sunrise, but if that's what you want, I would go with a warm effect, not a cold effect. Sure, a 10K would work but obviously the sun should only be shining through the windows that face the same direction.
David, thanks for your comments on Fuginon. What is your take on the lens market today? With all the Red cameras out in the field, there probably has never been a higher need for lenses of all types. But with so many companies making so many relatively similar lenses, I would think there needs to be a shake out pretty soon. What's the skuttlebutt amongst the DP's you talk to? I need additional lenses, but I don't absolutely have to buy today. I would hate to buy an expensive Angenieux, only to find out that Fuginon is eating their lunch and Angenieux lowers their prices, etc or a similar senario with ARRI and Leica, etc.
David, I was surprised to hear you say you combined a new Fuginon with an older Cooke zoom (for budget reasons). If you're shooting two cameras, how do you resolve the contrast in look before you shoot? Are you using one camera for establishing shots and the other for close-ups? What static do you get from the editor over cutting in the two looks in a scene? Do you try to hide it with contrasting backgrounds--or is this simply not a big deal? I've always gone out of my way not to mix lens resolution in my films.
I needed the option of using a zoom on two cameras but I couldn't afford matching zooms. The short answer is that I didn't use the softer zoom very much, I stuck to primes on that camera. Otherwise, I tried to avoid using the softer zoom in wide shots or wide-open. Most of the movie was shot with a 1/8 White Frost diffusion and a couple of times, I left that off the softer zoom when I had to use it. The only day it was a real problem was when we were filming action on a river, I needed a zoom on both cameras because of the unpredictability of the boat action, plus one camera was on a Technocrane over the river and it was hard to change lenses quickly, the other was on shore trying to grab moments at the long end of the 11:1 zoom, so I had to use the softer 5:1 zoom on the Technocrane after I got my widest shots on a prime.
Some movies you can be a lot more precise with the choice of lenses, other movies, you have to be less picky if you want to make your day and the director likes zooms and you are shooting unrepeatable action, like animals & stunts. Ideally, I would have had two good, sharp zooms on the package, but the production refused to pay for that.
It was the 11:1 Primo that I was mixing (rarely) with the older 5:1 Cooke.
David, if I remember correctly you started your career with the intention of becoming a Director but got multiple requests to DP after people saw your work. Do you plan/want to direct a feature in the near future? And what type of movie would you like to direct the most?
I don't have anything yet that I'd like to direct, but I'm a big fan of science fiction and Kubrick movies and like to do something in that style, sort of like "Inception" but on a smaller scale. Someday.
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