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Not Roger, but I liked it very much. If I were to offer a first impression suggestion, I missed a rim light to separate your subject’s dark hair from the background and more define her shape in that space.
On the union productions where I AC, the DP and/or DIT have monitors calibrated at the rental house, and the ACs and OPs and other monitors on set are usually left at factory settings for everything but brightness and contrast, which we dial in to suit the conditions on set or location.
I’m in the middle of shooting a project in 2.39:1, cropped from a 6K 1.78 recording. We made the decision to frame that way to always include our characters’ surroundings even in the most intimate closeups. It also allows us to set a broad stage on which to let our characters perform in wide shots. In conjunction with this framing decision, we’ve greatly limited our handheld camerawork to only two or three specific moments. Everything maintains a very formal presentation, which (we hope) is suited to the story.
No film school experience here, just one night school class a decade after my undergrad degree in English. I interned, then PA’d, then eventually joined the union as an AC, all while shooting or assisting on any project that would have me (student, corporate, advertising, music video, whatever).
About half my colleagues are film school grads, half had family or family friends in the business, and half came from theater or music or event production or a zillion other similar but not quite the same fields. I know that’s 3 halves, but hey.
Your enthusiasm, spirit, attentiveness, dedication are all much more valuable than any “expertise” when you’re starting out. Be willing to take on (and learn from) ANY job on any set, but once you’re on set (and killing it) at whatever starting position you find, don’t be afraid to introduce yourself to the people doing what you really want to do.
