Rick Wise
1
COW Coin
Forum Replies Created
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Luigi,
You can see course descriptions for both undergraduate classes and graduate classes here: https://catalog.academyart.edu/catalogBrowsing/landing/true/mode/ONCAMPUS.0.1 The graduate (MS) classes start with number 600. I do NOT recommend you take online classes as you will not be working with higher-end cameras and lenses.
Given your extensive film and video background, I am dubious about school as a solution to your desires. If you look around you in Italy there must be more than one person doing the kind of work you want to do. I’d go and talk to each one and ask advice of how to expand your knowledge. If any offer you a temporary job in any position, I’d take it. That way you will get paid to learn. What could be better? If you strike out in Italy, try France, Spain, Germany, England. Or, come to Hollywood. If you have good people skills any of those apprentice roads should pay off for you.
If you still want to come to AAU, see if you can talk your way into taking a few classes such as 615, grad lighting (which I teach) and 646, grad cinematography 3. The University will want you to take lower-level classes but will waive that requirement if you can demonstrate enough knowledge.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Have you tried to apply what you learned in that complete DVD set? One can go to school forever. Or, one can dive in and start shooting, learning as you go.
Your specific questions about lenses and post flow have little to do with lighting. In fact, really, nothing to do with lighting.
Lenses: In 35mm and on the Red One we use a large arsenal of lenses, from wide angles to telephotos. Some let you focus very close up (essential for table-top.) We use special lenses such as snorkels for special cases. Each has its own characteristics of field of view, depth of field, compression/expansion. The only way to learn about them is to use them, one by one.
Post flow: the post flow of the Red is very specific and different from film or other forms of video. If you want to be a DP, then a passing knowledge of post is good, but you don’t need to know all the details. If you want to direct, then it’s more important to learn more. In either case, consult the experts when you have something to go to post. Learn as you go.
Maybe what you need is a complete DP course with lots of hands-on. We have one here in San Francisco where I teach. There’s at least one in France and in England, though i don’t know anything about how hands on they are now.
Or, just start shooting. Make mistakes, learn. It’s a great way to live if you can make it work financially, and will probably cost you a lot less than going to school.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
There is no reason you could not lamp this unit with a bulb with less wattage so long as it is the right shape and size — and since the part numbers are listed on the back those are clearly the bulbs to buy.
Yes, hang onto that 2K bulb. You never know when you’ll need it.
When changing bulbs, be sure to NEVER touch any with your bare hands — your fingers will leave miniscule oil traces on the bulb which will shorten the life of the bulb substantially. Always use a clean cloth or clean gloves or a piece of kleenex. (And let the bulb cool down before touching….)
If you are unclear about color temp, learn about that by searching this site and also Google. Kelvin color temperature refers to one of two color axes you need to pay attention to, the red-blue axis. The other is the magenta-green. The significance of these and how to correct has been explained several times on this forum.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Neil,
Your $6,000 budget — do those listed costs cover everything including in-house expenses like salaried employees’ time on the project, overhead such as sales, heat, electricity, building rental, etc. etc. I suspect $6,000 is only part of the true costs. If that figure represents actual total costs, everything included, then you have one lean, mean videomaking machine.
As for comments about the craft of telling a story, the posts on that refer to the video craft of telling a story — using camera and lights and shadows and colors to enhance the story. To my eyes your sample video is good journeyman corporate video. One of the weaknesses is the rather dead “read” of your interviewee; one is tempted to go to sleep while watching him. It doesn’t help that he is videotaped in a dead environment. No eye candy anywhere there. Fortunately he is not on screen very long. The narrator is professional and the whole package generally neat and complete.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
John, really well put.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Neil, every single filmmaker/videographer will have a different approach and battery of gear. You have wisely worked with your former vendor who has generously trained your inhouse guys and given you many of the keys to the kingdom. I see no use in second or third guessing what the man on the ground has done for you. In fact, I am surprised by your request. Have you suddenly decided that you don’t like the results you are getting? If that is the case, what you may be experiencing is that although anyone can pick up a camcorder and get images, it takes years of practice to get consistently good images. Your inhouse guys are new to this game and have a huge amount to learn.
Bottom line, you have a workable base lighting package. I see no grip gear to shape lights and form shadows.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Sounds like telecine talk to me. Transfer cool would be give it a cool/bluish look, and transfer warm would be give it a warm/orangish look. I would always avoid such a general statement unless I were there to translate exactly what I mean. One man’s bluish could be another’s totally blue. Unless prevented by forces totally out of your control, always be present at the transfer of your film to video, and these days, of timing your video output. Or else buy large stock positions in Kleenex as you will weep copiously for days.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
A half CTO does not make a full conversion but it almost always plenty. In general, I find the using 1/2 the strength of either CTO or CTB, depending on which way I’m going, works great.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Michel,
I’m not sure what you mean by “go to the site.” If you mean the site where my table is posted, that’s restricted to only students in my lighting class. If you mean the sites for Rosco and Lee, google them. I think they are Rosco.com and Lee.com but I am not sure.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Thanks, Dennis. Interesting. Mine is the half. I’ll have to upgrade the table, but some time later. I’m jammed writing an online lighting class for the Academy. I am working hard to resist temptations such as your request because they take me from my appointed task, which is a gigantic time hole. But fun too.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com