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A short to remember


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#1 chris kempinski

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Posted 19 December 2007 - 12:59 AM

So I have just loaded in the gear, and am bunkering down for a very fun and crazy filled 4 days called "The 11th Spice". A tale of one mans obsession to break the Colonel's secret chicken recipe.
Thankfully the production side has been well organized and the story boards are great and pretty straight forward. I have been talked out of 16mm by the producer, so now we're going to shoot with an HVX200. By far not my most favorite camera but I like to think of it like canvas vs paper.
I have been given an very good package for light and grip gak so I really have no excuse to make a good looking picture but in the heat of the battle......
I will try and post pictures over the next few days to give a visual of what's to come. The director wants dark and colorful. I like when directors ask for that.

cheers for now.
Chris
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#2 chris kempinski

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Posted 28 December 2007 - 10:26 PM

So.... an update for those of you that follow this kind of stuff.
The shoot went great and I have photos on the way. I hope to clear them from the on set photographer in the coming days and will post what I can.

Just as a rant, the days were kept to 12s! That to me is incredible. But, that being said, we were behind schedule every day. The director had a few big montage sequences in mind. Lots of close-ups, and I mean lots, plus coverage of each set in reverse order from cluttered and filled with chicken bones, to a clean room, three or four shots later taking a bit of clutter out of the room each take.
The sets were small, and I wanted the entire show to be about fall-off and shadow. I gave each set a different feel, but mostly used a 19" gemball and a snooted tungsten source (usually a scrimmed down baby). I did mix a fair bit of HMI and tungsten so once the images are posted I will let you know more about lighting set-ups then.
The dolly and jib arm saved me so much time! I could hardly imagine doing a show without them. Plus the camera moves really gave me a run for my money. By far the most challenging for me to date.
The other toy we had out were the small dimable LED light panels. They came in handy so many times when I just needed something small in a corner, or behind a tv or in a drawer. I think I am going to have no choice but to buy a kit for my self. When we went on location the only light I had was a 4k Fresnel, I would have liked bigger but we only had a 6500 honda to power it.

The good news is that the Director and Producer seem happy with the dailies and like I said, when I get some photos in I will post some more.


Cheers for now.
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#3 pascal Boyer

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Posted 05 January 2008 - 07:19 AM

So.... an update for those of you that follow this kind of stuff.
The shoot went great and I have photos on the way. I hope to clear them from the on set photographer in the coming days and will post what I can.

Just as a rant, the days were kept to 12s! That to me is incredible. But, that being said, we were behind schedule every day. The director had a few big montage sequences in mind. Lots of close-ups, and I mean lots, plus coverage of each set in reverse order from cluttered and filled with chicken bones, to a clean room, three or four shots later taking a bit of clutter out of the room each take.
The sets were small, and I wanted the entire show to be about fall-off and shadow. I gave each set a different feel, but mostly used a 19" gemball and a snooted tungsten source (usually a scrimmed down baby). I did mix a fair bit of HMI and tungsten so once the images are posted I will let you know more about lighting set-ups then.
The dolly and jib arm saved me so much time! I could hardly imagine doing a show without them. Plus the camera moves really gave me a run for my money. By far the most challenging for me to date.
The other toy we had out were the small dimable LED light panels. They came in handy so many times when I just needed something small in a corner, or behind a tv or in a drawer. I think I am going to have no choice but to buy a kit for my self. When we went on location the only light I had was a 4k Fresnel, I would have liked bigger but we only had a 6500 honda to power it.

The good news is that the Director and Producer seem happy with the dailies and like I said, when I get some photos in I will post some more.


Cheers for now.

Hi ,
yes the led panels are great & fun ,i love them for car interiors but they are very expansive 1200 euros i think . Hope you post your pics quick and if you can explain quickly your setup for each photo.
Au revoir
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Metropolis Post

New Pro Video - New and Used Equipment

Glidecam

CineLab

Broadcast Solutions Inc

Paralinx LLC

rebotnix Technologies

Willys Widgets

Media Blackout - Custom Cables and AKS

Abel Cine

Gamma Ray Digital Inc

Rig Wheels Passport

Wooden Camera

Technodolly

CineTape

The Slider

Visual Products

Aerial Filmworks

Tai Audio

Ritter Battery