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Sam Oddo

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  1. Hey Jon, Thanks for the input: When you say "don't light to 70 IRE" were you referring to the specular highlights on the skin hitting 70? I'll be filming with the A7sII... I was planning on filming in a Rec709 space, but was also playing with the idea of shooting in SLog. Can you go into exposure tips a bit more for me? -Sam
  2. Thanks Guys, I was planning on using a combination of hard light (maybe the Joker with a fresnel lens for a nice crisp edge) and soft light (Kinos to provide a key that wraps around the face) to light the subject. AJ, I was thinking about using the butterfly approach with the Kinos... Do you think that will play well? The other concern I have is with movement, such as lighting an individual who has a strong vertical movement (i.e. pull-ups). Any suggestions here, especially because I don't really have any large light sources? I will mostly be shooting at 24fps (180 degree shutter) at 4k. I was planning on doing a few pickup shots in 60 fps as well, but probably nothing slower than that. I am still working out the iso: If I shoot Rec709, I'll just try to keep it as low as possible, but if I shoot SLog I will keep the iso native at 1600 (and use NDs if necessary). -Sam
  3. Hey Guys, I have to shoot a spot for a CrossFit gym in the near future, and was looking for any lighting recommendations. We want to achieve a feel similar to this Reebok campaign as far as framing, camera movement and editing: https://youtu.be/UDb-7DY3CjU As far as lighting, the Director wants this to look relatively dramatic with a darker background, nice edge lights etc (please reference photo). The talent we will be filming is a woman (about 40y/o). Any recommendations on lighting a woman in a dramatic, but flattering way? I don't have any pictures of the space that I can share, but it has a series of ceiling-mounted Fluorescent lights, no windows, and a large barn door that we can open to add some daylight fill. I was planning on opening the barn door, turning off the ceiling lights and going full daylight. As far as lighting that I have access to: Joker 800, Kino Kit (one 4 bank, two 2 banks), Arri Kit (two 150s, one 300, one 650, one 750, one 1k). I also have gels and c-stands, flags etc. -Sam
  4. Thanks Guys! Justin, I thought that was how it went down, but I wasn't sure! -Sam
  5. Hey Guys, This may be a very dumb question, but how does apple film their app and iPhone commercials without the hands shaking while holding the device? Here is an example: https://www.youtube.com/watch?v=szrsfeyLzyg At first I thought they utilized two separate layers, one for the hand holding the device and one for the finger swiping, and comped the two together. The layer with the hand holding the device almost appeared to be a still image, but what confused me was that I saw shadow movement on it when the finger swipes... Do they have a rig attached to the phone to keep it steady or stabilize the footage in post? Do they green screen and then comp? -Sam
  6. Thanks David! I have a reasonable proficiency in After Effects, and feel that I could adequately composite several elements together: I just wasn't sure of how to actually film it. I see your point with the "head-to-toe" compositing issue; however (referencing the attached still), could I just use backplates that obscure the individuals feet to get around that? Would you also know how to film a person on green screen in such a way as they blend (in terms of height/angle etc.) with background elements like a building or mountain? -Sam
  8. Hello Cinema Community! I have a music video client who would like psychedelic images in her music video: Options include fractals, light prism effects, kaleidoscopic imagery etc. I am curious, is anyone aware of practical solutions to achieving an end result similar to what I listed above? I realize that I could achieve much of this via a program like After Effects; however, I am curious if doing something like this practically would produce something more organic. If anyone has any experience with this, it would be great to know what methods you used, in addition to seeing visual references of the end result. Lastly, this project is on a shoe string budget!
  9. Hey Guys, I'm an aspiring cinematographer and I am wondering how best to spend my money to invest in this field. At first, I was dead sent on buying on new camera (looking at the A7s II or the Ursa Mini); however, I have now begun to consider investing in lighting equipment, and opting to rent a camera whenever the need arises. Basically I'm torn: For $3,000 I could buy just a camera body, or I could get an Arri lighting package (x2 150w, 300w, 650w, 1k) and two 4' 2-bank kino lights w/ ballasts off of Ebay. My questions are: Can anyone provide insight into what would be the best and most beneficial course of action? I also have another question based off of the Kino lights: is the output of a 4' 2-bank Kino the same as the output of a 2' 4-bank Kino? What are the benefits to either or? Lastly, is there a better investment I could make that isn't a camera or lighting equipment? Thanks again, and any insight will be greatly appreciated! -Sam
  10. Hey Phil, I was thinking one zoom for $4,000... or the best option within a few thousand dollars of that mark.
  11. Ok, given a budget of $4,000 (or less) per lens, what zooms would you fellas recommend?
  12. Satsuki, What lens options would you utilize for run-n-gun and interviews?
  13. Thanks for your suggestions: I have been looking at the Ursa Mini for myself, but I feel that the cost of CFast cards may turn-off management. One camera that keeps coming up in discussion is the Sony A7s II. Any thoughts on this system compared to the others? One thing the is a prominent consideration is a camera system that- if required- can shoot in a format that requires minimal post-processing for fast turn-around. Thanks, Sam
  14. I'm thinking it would be nice to have upgraded primes in a wide and medium (normal) focal length, while reserving a high quality zoom for the telephoto range. Any thoughts between cine and still lenses? I'm currently exploring Zeiss CP.2s, Canon CN-Es and Schneider Xenons.
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