Rick Wise
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COW Coin
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I think it’s both.
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
The new Canon XC10 (https://www.bhphotovideo.com/c/product/1134581-REG/canon_0565c013_xc10.html) for $2500 looks to me to be a very promising doc camera. Advantages: 4K, large sensor, reasonable ISO range, small and light, records directly on the camera. Drawbacks: in still mode cannot shoot RAW, but maybe well offset by shooting video in 4K and grabbing stills from the video. Also, just one lens, built in. For the doc shooter, probably a good thing. For dramatic work, possibly too limiting, especially on the wide side. Look at the video demo on the B&H link.
There is never one camera that can do it all. For events and docs and maybe commercials, this one looks to me to be at the very least promising and at a very decent price.
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
I second everything Todd said. You have a very good eye. For demo reels (and movies in general) it’s usually best to never repeat any shots. There are rare and stylistic exceptions.
As for finding gigs, I have no idea of how that works in the UK. Here it’s a tough slog until you get the first one. Little by little you build a reputation as someone who does good work and is good to have around on the set. If there’s some sort of directory of production houses, directors, DPs etc., get it and start phoning. Expect gigantic rejections. But when you stumble upon someone who at that very moment needs some help you get your entry.
The most important part of getting work is your own attitude. You’ve got to be ready to do just about anything (legal) anyone asks you to do, and with a smile. Be careful about asking too many questions: then you become a pest instead of a help.
As we say here, “break a leg.” (An old theater expression.)
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
John pretty well nails it. One more small detail: you don’t want to balance light intensities completely. The outside should be around 2-3 stops hotter than the inside. If they match, the scene looks fake. (It helps to have a spot meter to determine how hot the outside is vs. your f/stop inside.
Rosco makes a 2-stop scrim (https://www.rosco.com/filters/cinegel.cfm?CategoryID=4 — scroll down) that is not reflective. However it works best when it is not in focus, so it’s not so good if someone is standing/sitting close to the window. Another trick is to fly a super clean and seamless 8×8 double far enough back of the subject that it is not in sharp focus, but that cuts only one f/stop.
There’s a long thread on this forum about this topic which includes a Home Depot solution by Todd Terry: https://forums.creativecow.net/thread/47/856454
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
I’ve been doing some research on the candle and fire lit scenes in the BBC mini-series, Wolf Hall. It turns out those night interiors were shot without any electrical units at all, just the light of candles and of fire places. The camera was an Arri Alexa Plus, and the lenses a set of Leica Summilux-C Primes. So the advanced vision of Kubrick in Barry Lyndon with his special lenses and triple-wick candles can now be achieved with far more crispness and detail. One suspects that new cameras, including the new Sony 7ll, will be less expensive alternatives to the Alexa. Getting the right glass, though, will be a challenge to any limited budget.
In the mean time, augmenting candle and fire light with some electrical help is probably worth the effort and costs a whole lot less. Unlike firelight, candle light does not flicker unless there is some draft of air in the room or the candles are outside. Lighting so that it appears the scene is lit solely by candles remains a skill. I’ve found China Lanterns can be a great help in that endeavor.
For some details on shooting Wolf Hall see this article: https://www.tvtechnology.com/multiformat/0112/wolf-hall-ancient-intrigue-modern-imaging/275826
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
Indeed, an actual fire can work in some settings. Not in others. Usually they are propane powered rigs.
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
Thanks very much, all of you. I did get to a similar place: buy already colored bulbs. Found one supplier that seems to have a decent collection of the colors I’d like, including amber, yellow, red: https://www.1000bulbs.com/category/colored-light-bulbs/ I think one of the characteristics of believable firelight is a base, warm intensity that doesn’t flicker. Then randomly flickering ambers, yellow, reds. To get enough umph I suspect I’d need 75 watt pars, which seem to be the strongest bulbs offered this way. I think the Medusa rig (https://www.hurlbutvisuals.com/blog/2012/07/building-medusa-the-perfect-diy-fire-light/) is too complicated. I suspect one could screw around 7 porcelain bulb bases to a piece of 1/2″ plywood. Add a couple of strips of 1×1″ molding to the back side to provide some space, wire each base with a female edison plug on the end. On a separate board set up 4 household dimmers the Medusa proposes. Hook up 2 red bulbs to one dimmer, hook up the center/yellow bulb to a dimmer — this one to provide the base level and won’t flicker. Distribute the remaining bulbs across the 2 remaining dimmers. Once the base level is set, that dimmer remains locked in place. That leaves 3 sliders to ride up and down, which probably one person can do.
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
Many thanks for all the replies!
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
A digital alternative to consider is the relatively new super-16mm format digital Bolex. An SOC colleague of mine has looked into it and is very impressed by its clean, film-like response to light and shadow. I am told it uses RX (adjusted for the reflex Bolex) C-mount lenses which are relatively inexpensive. However, those lenses are for standard 16mm cameras and probably do not cover the full super-16mm size — not sure. Philip Boom has a lengthy review here: https://philipbloom.net/2014/03/07/d16/ I find getting accurate and detailed lens information for this camera is somewhat difficult but may be worth pursuing. One thing is clear: with an adapter it can take PL-mount lenses.
As for Todd’s amazing Pro Bolex, I remember when those came out. Small tanks. Super heavy. It must have been hard to part with it, but a prudent thing to do to stay in business….
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
Ah yes, Todd, the Dutch-angle phase. I too had one and loved it for a short while. Of course, I over used it and it started to leave a bad taste when I did it, so I stopped. But it sure does have a place in story telling when done at just the right place and time. A little does go a long way.
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com