On a quickie break from the training session, but Tony has put up a bunch of pictures from the PREY shooting on his blog.
These first four were shot on location in a working bar/bowling alley. I'm really happy with the richness of color and texture.
These three are from one of the fight scenes. This is the one that nearly broke me trying to light it. It's really really blue. The parts that aren't blue... where does that light come from?
It really doesn't bother me as much as I thought it would.
These last four we shot last night at a really ohmigod fabulous house out in the boonies. Tony nearly jumped out of his skin several times.
It's really something to see them all in one place like that.
And yes, they look dark. That is the difference between shooting DV and seeing it on a video monitor rather than a computer.
I think the thing that hits me the most is that the unmotivated lighting that has had me so worried just isn't a problem, or at least not from looking just at the stills. The second thing that hits me is that while I have been worried about becoming a one-trick pony as far as lighting goes, I don't have to worry about that either. There is nothing in this collection of pictures that screams YOU'RE USING THE SAME LIGHTING TRICKS OVER AND OVER.
At the same time, I can see myself in these images, or at least a visual style that is emerging as "mine".
I think though that I need to start using some different colors. Blue and Orange get a little old.
These first four were shot on location in a working bar/bowling alley. I'm really happy with the richness of color and texture.
These three are from one of the fight scenes. This is the one that nearly broke me trying to light it. It's really really blue. The parts that aren't blue... where does that light come from?
It really doesn't bother me as much as I thought it would.
These last four we shot last night at a really ohmigod fabulous house out in the boonies. Tony nearly jumped out of his skin several times.
It's really something to see them all in one place like that.
And yes, they look dark. That is the difference between shooting DV and seeing it on a video monitor rather than a computer.
I think the thing that hits me the most is that the unmotivated lighting that has had me so worried just isn't a problem, or at least not from looking just at the stills. The second thing that hits me is that while I have been worried about becoming a one-trick pony as far as lighting goes, I don't have to worry about that either. There is nothing in this collection of pictures that screams YOU'RE USING THE SAME LIGHTING TRICKS OVER AND OVER.
At the same time, I can see myself in these images, or at least a visual style that is emerging as "mine".
I think though that I need to start using some different colors. Blue and Orange get a little old.
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magicmarmot- Tom Ramcigam
- Magic Marmot Studios
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That all being said, I'm glad you're seeing what I'm seeing in the shots. It doesn't all look the same. It looks, well, diverse. Yes, the stuff from last night looks a little dark, but I actually like the mood that it generates. In fact, the last shot in the series is my favorite still of the lot. It says so much without needing a word. Great work from everyone there.
Now to try and relax while worrying about Robin's fangs...
Not that it was a happy accident or anything. No, it was all in my nefarious plan...
I'm even dividing the frames into thirds for composition to get a better idea. But now that I've been on site at Gators and at Casa De Simmonds planning the shots makes a lot more sense in my noodle than it did before.
(In a shitty mood today, so if that was a joke I missed it.)
And, of course, Scott is giving us Act Three, per my request.
Now to finally secure the place for act three.
I must not be fluffing the humor monkey.
One good thing, though: My light wasn't broken. Took it to National Camera Exchange and pulled out the bulb, but the tech and I both thought it looked fine. Reseated it and sure enough it fired off once I'd popped it more firmly back into place.
Picked up a spare bulb, though. $30.00 for a little but of insurance seemed like a good deal to me.
And sorry to hear about the frustrations. Not like you don't have enough stuff happening in your life.
This stuff looks great. You should be extremely proud of the work you do. Sure, you've said there are "better" cinematographers out there, but I don't think any of them could pull off what you do with the time and budget you're given...or would even want to try.
*applause*
A Fan of Rob Withoff, DP
Thanks for the kind words, I do appreciate them. But I'm really lucky to be surrounded by a bunch of really creative and very talented people who make it all come together.
Now if we could just get all famous...
And, just to be very clear, that DP does stand for Director of Photography. 'cause having it sound for the other kind of DP would be, well, gross.