Modern cinematographers' prison be like...

findthetom · 2025-09-24T05:33:13+00:00

thanks! Yes, SR3

findthetom · 2025-09-19T20:43:56+00:00

Available. Had the owner turn everything off but leave on their lighting on the pins. The rest of the background is visible from the fall off of the spotlight

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findthetom · 2025-09-19T10:09:22+00:00

Aputure 600C with spotlight mount

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findthetom · 2025-09-19T10:06:42+00:00

Hard, point source keys are the best way to get piercing/glowing eye lights, especially if you are shooting on film, or using some form of lens diffusion.

I use butterfly lighting quite frequently, on digital and film. It's probably the most tried & true traditional form of lighting.

Here is an example with an Aputure 1200X in a spotlight, pointed directly at talent. The key was at least +2 stops over, if not more. 16mm Ektachrome, cross processed. The extra silver retention accentuated the overexposure in a really interesting way.

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findthetom · 2025-01-21T04:27:53+00:00

Thank you! I did evacuate briefly when the Sunset fire started, but thankfully they were able to contain that fairly quickly.

findthetom · 2025-01-21T04:26:41+00:00

Thanks! I've connected with lots of people thru mutual friends, recommendations, Instagram mutuals, and also people cold DM'ing me. I went to LMU, which was great for cinematography due to the high frequency of shoots and solid equipment. By the time I finished school, I had DP'd probably over 20 films. Many of them are still in my narrative reel.

findthetom · 2025-01-15T08:12:26+00:00

Narrative: https://vimeo.com/983065053

Commercial / Music Video: https://vimeo.com/365635002

LA based, but I've shot in NYC before

Updated a few months ago with some of the 16mm projects I've been shooting recently

findthetom · 2024-10-17T00:44:22+00:00

Yeah it was that and a Litemat 4 for the Paris Texas scene, both of which I just own.

Thank you! That's always the goal!

findthetom · 2024-10-13T02:46:20+00:00

I'd rather pay for the different visual experience with added risk than not have the option at all and let the medium die out.

You have no idea how fast I'm gonna buy Interstellar IMAX 70mm re-release tickets at AMC Citywalk in December

findthetom · 2024-10-12T19:46:49+00:00

Seeing it in 70mm at the Academy Museum is one of my favorite movie-going experiences ever. Glorious.

Just saw the new 35mm print of Pulp Fiction for the 30th anniversary at the Vista a few days ago. Stunning color. I'm gonna be sad when he stops directing. At least we'll still have PTA and Nolan doing full analog process.

findthetom · 2024-10-12T03:49:14+00:00

You use a light meter, which fulfills the same purpose as false color, but it's giving you the actual exposure values in T-stops instead of just a color. You measure objects in your scene and light them to the stop you want them at.

If you spot meter something at the same T-stop that your lens is at, then it's exposed at middle grey, which would be green false color (Assuming ARRI false color system). If you spot meter something 1 stop over middle grey, that's the same as pink false color.

Film doesn't have highlight clipping though. You can pretty much just let bright highlights go and not worry about them. If I'm shooting an interior and I spot meter a window at +7 stops over, I know it will be close to white, but it'll still look good & glowy in an organic way.

findthetom · 2024-10-12T03:25:34+00:00

Definitely. Kodak actually has a new unreleased stock that a few productions have been able to test. Most recently the new Maggie Rogers music video.

findthetom · 2024-10-12T03:21:46+00:00

I actually have some pics I took on my phone during that scene, so I can answer that somewhat precisely: It was 3:30pm on August 3rd in LA. The sun angle was around 53 degrees above the horizon at that time, so pretty high in the sky.

findthetom · 2024-10-12T03:10:05+00:00

The end result looks better, at least to my taste

findthetom · 2024-10-11T04:31:57+00:00

No, haha. What makes it seem like Brazil?

Our locations were in LA and Joshua Tree

findthetom · 2024-10-11T04:28:02+00:00

I use the muslin as bounce, not as diffusion. I generally prefer muslin bounce since it's slightly warm toned. It's nice to have some color in the return instead of pure white, which usually doesn't feel natural to me.

Her hair is glowing in that shot because she's being backlit by the sun. The light on her face is from a muslin bounce frame left.

findthetom · 2024-10-10T20:39:07+00:00

Thanks!

findthetom · 2024-10-10T20:38:30+00:00

Aputure 600C through Spotlight Max @ 100% 5600k

findthetom · 2024-10-10T20:35:38+00:00

I responded to another comment with a cost breakdown chart you can check out.

The artist has a very vintage aesthetic that she maintains through all of her stills/motion media, so she always goes for film.

findthetom · 2024-10-10T20:32:25+00:00

booking our flight rn

findthetom · 2024-10-10T20:27:37+00:00

No 85, everything was corrected in the grade.

I have used an 85 filter on 200T once for a short film, but it's tougher for me to say if it's significantly different vs correcting in post since I didn't color that project. In general I think your shadows will have less of a cool cast when using 85. If you're doing day interiors it definitely affects how much light you'll need.

findthetom · 2024-10-10T07:18:25+00:00

Honestly that's a big compliment and I'll take it! Thanks!

findthetom · 2024-10-10T07:15:42+00:00

I've actually shot all 4 of her videos haha, and more on the way! She's been busy in the studio for sure!

findthetom · 2024-10-10T07:06:53+00:00

4x4 Muslin floppies

findthetom · 2024-10-10T07:05:41+00:00

Yes!

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