What does it take to be ASC?

[Kenny N Suleimanagich]

I took at a look at the avap.org website. Awesome - you're in high school and working on real productions. What's been the experience of your grads going on to film schools? Do any grads go directly on to working professionally?

Way delayed reply, but most grads that go on to film school have a hard time integrating becauase their so far ahead of the curve. I'm very close with one who has told me sotries about how he walked into Intro to Camera class not knowing there was an F stops test, and watching other students stress and walked out with the bast grade on the test unprepared. The neat thing about it too is that it's mostly student-driven. We never get forced to do work, usually just supported in assignments that are given (you can choose not to do an assignment if you have somehting else you want to do in mind etc). I think of it as an underundergrad program. There have been students who have gone on to work professionally, one works under many top editors and sound engineers and is trying to bump his way up the totem pole, and one works as a professional boom operator/sound mixer for documentary gathering. Otherwise, most of us get intern jobs at shoots based in LA. It's neat, any other questions feel free to ask.

[ryan_bennett]

I feel that another essential requirement for the eternal glory of ASC membership is ingenuity. You've got to invent new ways of lighting and shooting even if you have no decent equipment.

 

I have no proper film lights, so for a demo reel I'm shootig in a couple of weeks I'm going to use TVs on full brightness and push 500T one stop to achieve a decent exposure.

 

As soon as I figure out how to "push"... :huh:

 

Woah no one had a reply to this? Well first ya I guess you can go about using TVs as lights and it could be interesting, but wouldn't the scene be all blue or just one color? Also a lot of flicker when the scenes changes or whatever is on the TV. Not saying it's a bad idea but not sure if a bunch of tvs on full brightness will give you the amount of light you need to get a decent exposure of 500T (even though decent exposure that can be up for debate) so it just needs a little more thought.

 

How do you push one stop? You right it on the film can and in the directions to the lab. They'll charge you more for it because it does mean some more work. Just curious Matthew have you shot on anything or have any of your work up because just curious if you're already making a demo reel and sound like you don't have too much experience. You don't have to listen to me but I can't deny just grabbing some b&w which is cheaper and just shooting on that and learning, then moving onto negative.

 

You can get some 500w-650w worklights at a hardware store thats around $8-10. It would be worth it for if you need it in the future.

[Kenny N Suleimanagich]

Way delayed reply, but most grads that go on to film school have a hard time integrating becauase their so far ahead of the curve. I'm very close with one who has told me sotries about how he walked into Intro to Camera class not knowing there was an F stops test, and watching other students stress and walked out with the bast grade on the test unprepared. The neat thing about it too is that it's mostly student-driven. We never get forced to do work, usually just supported in assignments that are given (you can choose not to do an assignment if you have somehting else you want to do in mind etc). I think of it as an underundergrad program. There have been students who have gone on to work professionally, one works under many top editors and sound engineers and is trying to bump his way up the totem pole, and one works as a professional boom operator/sound mixer for documentary gathering. Otherwise, most of us get intern jobs at shoots based in LA. It's neat, any other questions feel free to ask.

David has payed us a visit too! By the way, anybody who wants to can come and say hello or speak to us or check out our film! All are welcome!

 

just PM me:)

[Chris Walters]

Dont know about avap.org but at http://www.aftrs.edu.au 100% of DPs go onto fulltime work, whether feature work or high end commercials is the only variable. http://www.kokodathemovie.com.au/ from a recent graduate.. and in our class we have someone who hasnt even finished whos done his first feature. Not bad hey!

 

Thats pretty cool stuff, but i always hesitate to think shooting a feature is really that big of a deal. I mean I can take my dvx and shoot a feature with natural light. A feature is just a length of time and doesn't mean its of real quality and substance. Don't get me wrong it could be a large budget with properly paid crew and thats great, but I my pet pieve is when people mention the word feature and get all worked up about it. But the school looks great though I might want to check it out.

 

Kevin I agree completely about the grips and gaffers mix up. Its real frustrating coming to a set as the actual gaffer and you got 2-3 other people thinking its their position. It is a big film school problem and people need to be taught all the different positions of a production besides producer DP director writer, and sound.. good luck to everyone. there are plenty of jobs out there for all of us. Not all of us need to be blockbuster DPs. I for one would be very happy as a gaffer or shooting Industrials. Its all about finding a niche and being happy. Good luck....

[Guest]

It's one reason why above-the-line folks tend to get residuals and profit points and below-the-line folks generally don't. Again, that's another gray area.

 

David, are there DPs in the Hollywood system that do negotiate back end points on big movies?

 

R,

[Stephen Williams]

David, are there DPs in the Hollywood system that do negotiate back end points on big movies?

 

R,

 

Hi Richard,

 

I believe Sloclombe did on the orginal Raiders.

 

Stephen

[Hal Smith]

Way delayed reply, but most grads that go on to film school have a hard time integrating becauase their so far ahead of the curve...........

 

Maybe the Maine Workshops would be a good idea for the school's better film students. I know Doug Hart (1st AC for Gordon Willis on several Woody Allen films, etc.) a little bit through CML. Doug teaches AC there and is pretty knowledgeable about the school's overall programs.

 

I suggest you email Doug, tell him about your school's film program; what kind of productions the student's are working on, what kind of equipment you're using, how you crew productions, etc. and ask his advice as to whether or not the Workshops would be a good idea. Another angle would be getting one of the prep jobs at Panavision, CSC, etc. if they'll hire straight out of high school.

 

I'll PM you Doug's email address.

[Tom Lowe]

So even a huge name like Conrad Hall was not given above-the-line status?