I have been fascinated with the technical creativity of filmmaking since I was a young teenager. Always finding myself behind the camera and being drawn to the process of crafting images, I began to focus exclusively on cinematography.
Overall, my work includes music videos, festival short films, the independent feature film By The Dashboard Light, and a wide variety of projects for clients such as Canon, Foot Locker, USAA, Choice Hotels, and Alcon Pharmaceuticals.
Most recently, I wrapped production as cinematographer on the music videos "So I Can Have You Back" and “Our Anthem” for seven time Grammy Nominated R&B artist Joe Thomas.
Looks beautiful. Some ugly FPN in the first two low light shots at 2:20 though... the same as my Production Camera at ISO800.
I feel like that was a part written for Christoph Waltz, and then he wasn't available and they tried to make Time Roth fit into that.
Another good thing to do is not roll camera until slate is in frame, so all the footage thumbnails in the NLE display the slate.
So much yes.
This is something i've struggled with a lot, and actually ended up being a cinematographer. I think it kinda falls under the "learn the rules before you break them" mentality, which i'm a big proponent of. Learn how to work on set, collaborating with the rest of your crew and conveying your ideas, and it will make you a much better filmmaker.
Then after you continually do that, you can sometimes go back to directing and DPing your film with all the more experience (Like Reed Morano with her film Meadowlands)
There's definitely compression artifacts as well, but they don't show up as the vertical lines running up and down the image, particularly in the shadows. The compression actually is hiding the FPN a bit.