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Showing content with the highest reputation on 05/05/19 in all areas

  1. 1 point
    Not really. He bitched and moaned about shooting "Hail Caesar" on 35mm, but that was a while ago. The Coen's probably will never use him again considering how much he hates film and they love it for their feature productions.
  2. 1 point
    Roger has special reasons why he does not like film. He is a perfectionist and shooting film gives him a lot of stress because he's worried if the dalies will look good. So the moment Arri (his camera company of choice) had a camera that worked, he switched and will not look back. If you hear him talk about film, his issues are MOSTLY his own issues, rather than a systemic issue. Considering nobody else has the issues he has with film stock and processing, it's clear he's just upset with his own issues.
  3. 1 point
    I think what people are forgetting about is the budget and working on union shows. Rental houses charge out the ass for modern equipment on those big shows. Where for older stuff, someone like Panavision will give a "free" camera body or two, if they rent lenses that aren't rented for digital, which at Panvision they have lots of lenses that digital people don't like. So they probably got two quotes from Panavision and the digital was more than the film by an astronomical number. By the way, this is something that's happened to me with Panavision as well, so I get it. In terms of the crew, DIT"s on non-union shows are $500/day. Some of the Union guys I know charge $1000 labor and $500 for their kit PER DAY. Then you also need a video village wrangling team, which is not as necessary on a film show. So cost savings in labor on a union show, could be around $2-3k a day easily. Then you deal with storage and this is a big deal. Everyone inflates the pricing of hard drives, it's just what they do. So a DIT will come in and charge 2x what an actual hard drive costs. They'll also need A LOT of drives on location. Since film is processed and then stored at the lab or post house directly, there really is no need for shuttle drives, which again for you and me is a very little cost difference, but for a huge show where everyone is charging exorbitant amounts of money for everything, I can see there being a pretty heavy cost difference. Finally, you actually work faster with film. I don't care how disciplined you are, with digital nothing stops you from rolling the camera all the time. With film, you need to be far more disciplined because you will waste time on every reload. So you're constantly working to make sure you've rehearsed and are getting what you need right away, rather than shooting until you run out of cards or time. On smaller films, this discipline already exists. On big union shows, it does not. This alone, saves the production a lot of money and can reduce schedule time. Yes the cost of film is expensive, but Kodak does offer pretty incredible deals to a studio shooting a feature. When Mindel calls up his kodak rep, they aren't charging him full boat. Where Fotokem may charge full boat for their services, reality is that most films do a telecine anyway, which is cheap. They'll then only scan the scenes from the final cut to scan, which saves a great deal of money. Post winds up being a lot cheaper as well because the images coming off the scanner are pretty damn perfect already, with wide dynamic range and generally higher resolution than normal digital capture. Yes, we all know on low budget shows, we can get deals on all of this equipment and the cost to shoot film would be much greater. However, even my math shows the difference between shooting on an Arri Alexa in 4k vs shooting on 3 perf 35mm, with a 4k finish is around $68,000 USD with a 10:1 ratio and 90 minute movie. $68,000 is not a lot of money, in fact it's nearly a no-brainer to shoot on film when the costs are that inconsequential. Sure on a big show they may shoot 30:1, which would bring the cost up to a little bit north of $200k. However, that's nothing for a $30M production.
  4. 1 point
    I don't advocate NOT studying contemporary work, but only concentrating on that would be a mistake. Not sure there are many great comedians who haven't listened to Richard Pryor, who isn't contemporary. And I'm sure Richard Pryor listened to Redd Foxx and Lenny Bruce. If you want to be a very shallow commercial artist, sure, just look at the latest trends and copy that without knowing how or why things got to be like that. If you want your work to have some depth, expand your research. Plus, if cinematography is something you love, if making images is something you love, you aren't going to limit yourself to just contemporary works, you wouldn't be able to stop yourself from exploring further in many directions. Are you saying no one has become a better cinematographer by studying Gordon Willis or Conrad Hall? Gordon Willis has been a big influence on many contemporary cinematographers like Bradford Young.
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