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Showing content with the highest reputation since 03/10/20 in all areas

  1. 2 points
    Arriflex 435 ES - 4-perf, IVS video assist PAL, FEM (functionality expansion module), TimeCode module, Arriglow module - Base plate BP-8 + dovetail plate + 19mm rods long, short 3x 400ft magazine + case 1x 400ft magazine (35-III model) 3x 200ft magazine + case finder extension FE-3 finder extension FE-5 ground glass + arriglow: - super35 2,35 - super35 1,85 - super35 silent gate 1,33 - normal35 2,35 - normal35 1,85 - normal35 1,33 P+S Technik uRC - remote control for speed ramps Video-top 100% + SCA-2 (for steadicam low-mount) EasyLOOK video-assist system - digital system for recording and playback - generates Quicktime files on HDD - wireless option Transvideo TITAN transmitter + receiver set for analog SD wireless video Transvideo Rainbow II 6,5” monitor - bright PAL monitor - anamorphic desqueze support PHOTOS: https://photos.app.goo.gl/xaJqzid9JwCFyyxY8 Camera is located in Bratislava, Slovak Republic, EU Shipping within European Union will cost €550 Shipping outside EU is not possible at the moment. In case of personal pickup, I can supply old Kodak film stock (10 rolls) for free. Payment via PayPal, incl. buyer´s protection.
  2. 2 points
    Here is an example of the skin texture when you increase the noise versus remove the noise:
  3. 1 point
    Hello friends, I recently completed a short film that has held my attention for many months. It was written, directed, and scored by yours truly. It was shot over the course of three consecutive 17 hour days. The process was as much of a fever dream as the result. The best part about it? Shot on our beloved celluloid format. Almost exclusively on Kodak 7219 (500T). There is a small section of Kodak 7203 (50D). This hobby and community have been a large part of my development in the interest in filmmaking. This is one of the reasons I want to share (privately) a link to my latest short film. I look forward to hearing your feedback and critiques. I hope to continually learn and develop my style through consistent work and feedback. This film is not available to the public at the moment (while it makes the festival circuit), so you will need a password to access the film on Vimeo. I ask that you don’t post the name of the film in this thread so we can keep it difficult to find publicly. The password is SRF2020. Now a warning. Warning The following film contains violence, graphic language and content, and mature situations/themes where viewer discretion is advised. Plot An addict blinded by love has one night to obtain the object of their affection. This film is NSFW. If you think the content might be even slightly offending or disturbing to you, it might better to skip it. It’s film that takes place on a darker side of the world Read the Post for the Password Thank You for Watching!
  4. 1 point
    I've just finished that short documentary in Sierra Leone with the FX9.. and I'm truly amazed. We kitted it out with a Teradek, WCU4 and a 5.6" minimonitor for me (instead of the one that the camera has) and it has all gone really really well. We shot almost in darkness since it was a documentary about the lack of electricity in hospitals in Sierra Leone at night and how the people there perform difficult surgeries with just the light of a phone.. and shooting at 4000ASA / 8000ASA has been absolutely eye opening. There were moments where I couldn't see anything but the camera picked the light from the phone super well. Definitely a great companion for a Sony Venice as a B cam or even to shoot commercials or features if there is no money for a Venice / Alexa. @Robin R Probyn we tested anamorphic lenses as well and it is not that difficult to make it work as of now 😉 I'm looking forward to working with it again.
  5. 1 point
    Just saying. If I had bought a Venice, the FX9 would infuriate me. Have you seen the press release today for their Xperia 1 II smartphone. It looks insane. Put that on a DJI Osmo gimbal and you easily replace much more expensive rigs. What really makes it shine is the built in software. Not having to download some crappy confusing app is what makes this work. None of the "cinema" apps for Android work that well. As long as Sony keeps support going for this app on future vers of Android this phone may be worth buying unlocked just as a camera. If only it had a removeable battery it would have really put the Hydrogen to shame.
  6. 1 point
    Joel, that's a really fine piece of work. Isn't she an amazing looking artist. The sensual Afro-French merge/embodiment is really powerful. The form of the language is powerful. The music itself may be a bit over modulated. Are the visual forms also? But I enjoyed it too much. Almost felt some quantum entaglement with the REM video for Loosing My Religeon. So you might see where my thoughts about possible over modulation come from.
  7. 1 point
    Looks great! Funny thing is that I shot my first feature in 1992 with a donated Leonetti UltraCam plus K35 lenses and Agfa film stock. At the time, these choices were all budgetary, today it would be for a look!
  8. 1 point
  9. 1 point
    I hope it helped! I had conversations like this with working DP's when I was in film school and it really set me up for less heartache when I graduated. This kind of conversation goes on for hours. Every career path is different, don't compare yours to others as a measure of success. Just keep networking, shooting when you can, and putting yourself out there. 🙂
  10. 1 point
    They have a killer shot on their reel from 1999? 😉
  11. 1 point
    Indeed, I remember how angry peeps on Reduser got when someone posted a test that showed how much better the F23 looked then the RED One. Simply impossible! It's only HD, 4K must be better because its erm 4K
  12. 1 point
    Manu, you're a self confessed film purist, so you have a vested interest in being able to tell the difference. Are you sure you could still tell if you didn't already know in advance?
  13. 1 point
    That same sensor is still producing the majority of worldwide narrative and commercial projects (though now in the smaller Alexa Mini form factor). Unless you’ve got Producers specifically asking for 4k, it’s still a perfectly relevant picture making machine.
  14. 1 point
    In dramatic fiction, an actor's face will often not be at 70 IRE within a space, it all depends on where they are in the room -- brighter when they are by a daytime window, darker when they move away from it, etc. IF you are shooting at an ISO that gives you an acceptable noise level, then you should be fine with having dark areas in the scene (shadows, dark clothing, etc.) But you will get more noise as soon as you try and manipulate it in post unless you are recording a very high-quality codec (low compression, high bit rate, decent color subsampling rate), and even then, you'll get more noise as you lift anything because that's the same thing as increasing the ISO in that area. So don't "push" things, shoot them in camera the way you want them to look. And it's always safer to not underexpose a dark scene too much, save some darkening for post, or drop the ISO to darken the shot rather than close down the iris.
  15. 1 point
    Hey all, It's now 2018, and I'm wondering if anyone has had any luck for an HD DIY solution for video taps on their XTR or LTRs... Interested in adding a tap to my XTR, but was hoping I could do it myself in HD... not sure if anyone has any info or sagely advise they can give... Thanks!
  16. 1 point
    Seriously? They didn't see the problem of shooting live bullets indoors? Could you give more details on the production? Feels like a interesting story we should all hear. 🙂
  17. 1 point
    Most artists are their own worst critics. I think a lot of us got into this work because we want validation, attention, praise, etc. We're insecure. So criticism can confirm our worst fears and doubts. However, we have to try and step back and look at criticism for what value it brings in terms of self-improvement and reject whatever is ultimately irrelevant. Personally, I know my own weaknesses, I know what I need to do to get better -- the hard part is moving forward, being active, breaking bad habits. But also at some point, you start to see that some criticism is off-base, it's just someone's personal taste being expressed that has no connection to who you are. It's like when you shoot something stylized and someone complains that it isn't realistic enough. You can't please everyone. We all make mistakes but the solution isn't to play things safer to avoid making them.
  18. 1 point
    Sony decide to add more pages to their camera menu.s...
  19. 1 point
  20. 1 point
    I think a big part of the ‘realness’ comes from using large sources backed off from the windows. It’s a lot harder to make convincing sunlight when you are forced to use smaller lamps in close proximity. The fall off never looks right, and the shadows aren’t parallel.
  21. 1 point
    I'm certainly not an expert Richard, but maybe it's as complicated a question as why in 2019 there is still a large pay disparity between men and women for doing the same job with the same qualifications. Here in Australia the gender pay gap sits at nearly 18%. What could be the reasons for that? Why do the top 10 female actors earn a third as much as the top 10 male actors, even though the top 3 box-office films of 2017 centred around a female lead? If you're genuinely interested, this paper released by Screen Australia goes into some of the barriers women face in the film and TV industry: https://www.screenaustralia.gov.au/getmedia/f20beab8-81cc-4499-92e9-02afba18c438/Gender-Matters-Women-in-the See pages 7 and 8. You could ask why it is that even though women buy half of all movie tickets in the US, male actors have more than twice as much dialogue and only 12% of films have a cast that is evenly balanced with men and women. Are stories about men just more interesting, or could there be some systemic bias happening? Check out this infographic for more interesting stats: https://www.nyfa.edu/film-school-blog/gender-inequality-in-film-infographic-updated-in-2018/ For the sake of Phil's request for peer-reviewed studies, from Wikipedia: "A 2015 meta-analysis of studies of experimental studies of gender in hiring found that "men were preferred for male-dominated jobs (i.e., gender-role congruity bias), whereas no strong preference for either gender was found for female-dominated or integrated jobs".[33] A 2018 audit study found that high-achieving men are called back more frequently by employers than equally high-achieving women (at a rate of nearly 2-to-1).[34] " The studies are from the Journal of Applied Psychology and the American Sociological Review. As I've said before, systemic bias doesn't have to be about blatant sexism or men holding women back. It can be as simple as the fact that women need to take time out of the workforce to have children, and that can set back a career that depends on contacts and constant availability. There is usually no maternity leave or childcare on a film set. Whether factors like that seem unfair can depend on your perspective I guess. Cinematography is often overlooked in these studies compared to the other main creative roles such as writers, directors and producers, and the number of women choosing it as a career is lower than those other roles, so there are no easy answers. But looking at all those statistics I very much doubt it just comes down to women not being interested or good at it.
  22. 1 point
    Quite a few women have in the past, and I’m sure some are currently reading without posting. As for why more women don’t post regularly? Perhaps because of posts like this?
  23. 1 point
  24. 1 point
    The early Pictorialism movement in photography diffused the image in various ways -- soft-focus lenses, nets and gauzes over the lens, glass diffusion, etc. It had an impact on cinematography of the mid-1920's through early 1930's, after still photography had become sharper in style. And you had in the 1970's that David Hamilton style of foggy photography for commercials and art. I've used filters sometimes in front of the lens, or just breathed on the lens just before taking the photo, like here:
  25. 1 point
    A recipe I've always liked for creating a "sodium vapour" vibe, is tungsten with full CTS, with the camera balanced for 4500k.
  26. 1 point
    Very interesting posts, still! haha
  27. 1 point
    I don't think one should just light flat and somehow create contrast and mood in post. That hard lighting style was complex because it was often high and frontal for women's faces but more shadowy everywhere else. This requires a lot of flags. You would do the same lighting whether or not you shot in film or digital, but with the higher ISO of digital cameras compared to the slow film stocks of the day, you'd probably use lower-wattage equivalents to what they would have used back then, assuming you wanted a similar depth of field (mostly in the f/2.8-4 range). But in terms of the ket to fill ratio, I'd probably do the same whether shooting in film or digital, but with digital I'd be lighting to a LUT with enough contrast and deep blacks so that I was forced to add fill where I needed it.
  28. 1 point
    I'm not worried about getting my money back. This isn't a financial investment. This is a career investment. I've already edited two feature documentaries and have crewed dozens of documentaries. I feel ready to make a feature length documentary about a subject that's unusual, that may spark some interest in the greater world out there. As a storyteller, I'm constantly looking for stories like this and since joining this group myself, I've fallen in love with the stories these people have to tell. My first forte into feature length documentary filmmaking had to be on film. I've spent so many years working up to this point in my life, if I copped out and shot it digitally, even with a great story, in my eyes it would be "average". Remember, we're not just shooting on film, we are doing a laser out to 35mm and presenting this on film as well. The press from that point alone will keep this on the mind of artists everywhere. We can use the "shot on film" aspect to help separate this from everything else out there. Thus, more eyes on our story, which maybe a costly angle for some people, but for me I think it's worth it. I mean let's face it, if I had to pay retail pricing for everything; .44/ft for film. .25/ft for processing. .60/ft for scan, I'd be able to shoot 10 rolls of film and probably make a 7 minute short film out of it and be done. However, I've spent years building up a low-cost alternative for all of these issues. It's literally taken me 5 years to get here and now I finally own cameras, lenses, support and have connections for stock, processing and transfer. Let's just say, my total (stock+processing+transfer) is less than an average 4k scan.
  29. 1 point
    I don't come here as often anymore but I wanted to drop in an congratulate Tyler on getting this thing done, loving seeing it come together! When will you be in Seattle next?
  30. 1 point
    Who can recommend a portable 35mm cine camera? Which is minimally available. Like Zeiss Kinamo, but not necessarily the same shape, even bigger, I took that as an example regarding the very low price range. I would only need to experiment with films of very little duration, even just seconds. The year of production is not a problem, for other formats I also use machines of the '40s, '50s, etc., the important thing is that it works. Also Soviet, of any production. Thank you. :)
  31. 1 point
    I recommend the black oct18 lenses from the 70's which are made for the Konvas 1m, and purchasing a older straight viewfinder camera body which has the side latch 60m magazines and rheostat motor. they are both easier to find in good shape and cheaper than a full 1m package... the 1m body is good and has orientable viewfinder but you will have hard time finding a good working motor for it. I managed to get the better crystal motor for my 1m but I had to hunt the motor for a year or so, they are very rare in working condition and pretty expensive compared to the camera body. so the rheostat is the way to go I think... the lenses I would recommend for you from the newer 70's series (black finish on the lens body, usually with white and red markings) : 35/2 (very good lens, can be found in good shape for well under 200 on ebay. ) 50/2 (good lens with nice look. I recommend the newer black 70's model but you can manage with the older silver bodied model if the close focusing issues are not a problem (the lens locating pin disengages if focusing to few meters or closer and you will need to mount the lens again to the camera body to be able to focus to infinity again. has not been a huge problem for me but may be a bit disturbing if you want to do lots of rack focuses every time) 135/4 (pretty ok lens. this is very handy and affordable tele lens, the cheapest ones can be found for around 50 or 60 on ebay. I would get one even if you only need it once a year because it being very handy and costs next to nothing :) 75/2 (newer black model. these are good lenses but extremely overpriced because of portrait photographers. can be in 500-700 euros range or more when the real price should be less than 300. I would not buy any of these unless you can find them under 300 in good shape. you will want the 50/2 black model instead which is couple of times cheaper) 28/2 (much much better lens than the 28/2.5 model which is more common on ebay. these can be relatively high cost, couple of hundred euros even but is worth it if you can find one in good shape. 22/2.8 (the lowest cost OK quality wide angle I have found for the camera. not super good "zeiss" quality and the corners of the image are not that high quality but you can save lots of money if you need wide angles all the time with the camera. for optical reasons the lens produces pretty dim viewfinder image with lots of falloff but the recorded image on film is much better than the difficult-to-see viewfinder image) 18mm lenses, various models (pretty rare and expensive ones if you can ever find them in usable shape :/ . have never tested these but they should be ok ) I would purchase the 35/2 , 50/2, 135/4 . specifically the newer black 70's models. and then either the newer 28/2 which is good but expensive or the old 22/2.8 which is affordable but much lower quality. 18mm ones are so rare in usable shape that you may need to forget them and concentrate to get good mid range instead . and totally avoid the overpriced 75mm ones. It should be noted that there is some incompatible Soviet lenses on eBay which are listed as "oct 18" but are really the AKS4 camera lenses which is completely different mount and incompatible with any Konvas model. For example if you see a Jupiter 85/2 lens advertised for Konvas it is the classic scam, that is really a AKS mount lens which cannot be used on Konvas at all. The mount can usually be spotted from images because it has different slants near the locking groove of the mount and the end of the mount whereas a real oct18 mount has much straighter cut groove and mount end. If you have some old Pentacon Six lenses in inventory you can use them with the Konvas with an adapter as well. I personally like the original Lomo lenses more but it is good to have options and the Pentacon lenses are very easy to find and affordable :) Soviet zooms like Lenar or Lomo Foton can be used as well though they are pretty overpriced and have much lower optical quality than the Lomo primes. If you ever shoot b/w with the camera these zooms are truly great for it creating a nice retro look for closeups, I personally just don't like them for color photography because of the chromatic aberrations and poor speed compared to primes etc. I personally repair my own cameras because I normally don't have time to wait for them to go Ukraine and back for adjustment and the shipping would be expensive. I think these cameras work best for you and are most economical if you can do the repairs locally or by yourself, even if the repair/service quality is not on par of a real overhaul made by a trained camera technician. As said the magazines are the real problem with these cameras and cause about 70 or 80% of problems with them, the rest being loading errors by the operator or just bad luck...
  32. 1 point
    Thanks to all, friends, many interesting tips! Lomokino is a good experiment, but the result is a film not fluid. However, it remains a good option, at that low cost you can also accept its nature of a particular camera, with its personal viewer/projector. The Eyemo, as mentioned, is beautiful, is precisely a high class room, out of economic budget. I started to seriously look for the Konvas, without lens it's possible to find models at very low cost, and so: you said some lenses. Which models can be used? Something Soviet like the camera or good substitutes? And if I wanted to mount a zoom instead of three lenses? In Europe do you know someone who make haul on the Konvas?
  33. 1 point
    With how loosely the Eyemos seem to wind the film up I would be hesitant to try and fit more than 100' in there. There have been quite a few times when unloading the film was running past the flanges. Seemed to happen with three different Eyemos. Usually have to manually tighten it up. Thanks. It was really fun to have the 35mm Arri 2c at the soccer games. Put those soccer moms with the $4000 DSLRs to shame. What I love is that I can go back and re-scan the film to 4k when I get around to it. Don't think the VHS home movies will hold up as well. :)
  34. 1 point
    I don't think I'll ever see classier home movies.
  35. 1 point
    I have your basic wind-up Eyemo and I have a couple Steve's Cine Modified Eyemos with crystal motor but unfortunately not reflexed. The motorized ones have been completely gutted and re-made basically. The gate and the sprocket drive is the same but the spring is removed and electronics put in. With a reflexed viewfinder this was like a $25,000 mod back in the day. Then they were used as crash cameras so that's throwing a lot of money around. Result is that many of the modified ones were damaged in crashes. The wind-up Eyemo is small but incredibly heavy and a big chunk of solid feeling steel. Can see them being used as weapons in WWII. With 1 minute per reel they aren't exactly practical for much but the one I have with a Nikon mount makes some beautiful images and the old wind-up one with the Eyemax 25mm lens has it's own charm too. Wind-up Eyemo: Crystal Eyemo (Steve's Cine Mod) with Nikon Mount:
  36. 1 point
    It's just a very suitable camera type, Tyler. Unfortunately it's not sold at a very economical price.
  37. 1 point
    Pentti Sammallahti is one of the greatest! He is also master printer and still working in the darkroom. http://www.peterfetterman.com/artists/pentti-sammallahti
  38. 1 point
    PVC is too flexible. I made mine out of commercial one-inch aluminium tube stock (google will find somewhere conveniently near to you) and these fittings. Those are in the UK but I suspect there'll be somewhere local for you to get something similar. You could use the steel advertised alongside those clamps, and it might be more rigid, but it will also be heavier and go rusty. I replaced the allen screws with commercially available handwheels similar to these. They're a standard M8 size and now they're tool-free. Mine is 8x8 based on the standard lengths of aluminium stock, and each side breaks down into two four-foot lengths using straight couplers. As such, the same parts can also be used to construct a four-by-four frame as well, though I haven't made any panels that size. I used white ripstop nylon - it's essentially equivalent to what the film industry calls gridcloth. The only downside is that it may not behave in an exactly equivalent manner to other diffusion materials, but it does the job. The panels are held in using bungee toggles like these. They're not perfectly ideal, being a bit long by default - you need to put a lot of tension on the fabric to keep it flat, especially with things like blue and green screens. Right now you have to wrap the bungee once around the tube to put more tension on it. I should really go through and shorten all the bungees by retying the knots and removing the excess. The largest amount of actual construction was for the hardware to clamp the frame to the two stands. I bolted a piece of angle to the top of a junior pin to create an upright surface, then bolted a piece of three-quarter inch box section to that using a clamping lever (sometimes called a Kipp handle), with the nut captive inside the box. A claw clamp either end of the box allows the frame to be clamped and held at any angle (and they're good for clamping other tubular objects, too.) About the only thing you're likely to want to send out is the sewing. I had polypropylene webbing sewn into the edges, to create a tough base on which to mount the D-rings through which the bungees thread. This arrangement is probably better than most of the commercial ones, which seem easily torn by applying too much tension on a windy day. I got a cheap tripod bag from eBay to put it all in. I remember having to look for quite a big one to accommodate four-foot lengths of metal. Assume all muslin (and all fabrics per se) will be flammable; spray them with fire retardant. I can take photos if it helps. Best P
  39. 1 point
    Pelican 1510 with trekpak and a lid organizer is what I decided on.....I much prefer it over having to carry a bag everywhere. Also feel like its looks a bit better (IMO). Trekpak is a must have (again IMO) and allows you to make the most of the space you do have. Don't know many people who need more room in their kit than that.
  40. 1 point
    Take this for what it is worth, as I've only shot one feature. :blink: When you have a lot of dialogue, the coverage can easily become very predictable and boring. I find that it is the mark of good directors and filmmakers (this includes the DP) to be able to play with the conventions and the art form of cinema. One of the best contemporaries of this today is David Fincher. Take a look at this classic roundtable setup from Zodiac: https://www.youtube.com/watch?v=DSuUJ-Scbeg Notice how masterfully Fincher changes from "normal" coverage into tighter eyelines (more over the shoulder) as the tension rises. Finally, he switches from eyelines off camera to in camera just after 1:00 in the clip to really hit high tension. This is very ballsy move from him, yet it works perfectly and you don't question it at all. Don't see that very often, and it's a mark of someone who is masterfully accomplished in his craft. Most directors won't want to do this and will resist such a thing. Things like that, or switching the lines cleverly (by tracking, or bringing it with you in some other way) will elevate your art. If you can convince the director to plan a few of these and breathe some clever life into a couple of dialogue sequences, you will make it more interesting. But it demands discipline and trust in the solution. If you switch the eyelines but then omit the shot that brings the line with you (perhaps for time reasons) you risk looking amateurish. So everybody needs to be on the same page - you, the director and the editor. Lastly, another good advice from Fincher: don't forget to cover the one listening to the dialogue. It's just as important and a good editor will know not to cut to the one talking all the time. And dialogue doesn't need to be covered 8 ways to Sunday - sometimes let it just play in a wide. A CU is a statement, keep them for when they're really needed. Talking heads in closeups a la cheap TV shows get boring real quick. Keep the art and the craft alive! :)
  41. 1 point
    I think you might be confusing the 16mm lenses wth the 35mm ones. 16mm Superpseeds have triangular bokeh through all generations, while in 35mm it's only the 1st generation.
  42. 1 point
    Here is an article by Jorge Diaz-Amador on the different generations of Superspeeds: http://www.cinematechnic.com/resources/zei...1,2_lenses.html
  43. -1 points
    Maybe I should apply....as a woman. Here in Canada you need only declare yourself a woman, in order to legally be one. I can walk into any driver's license bureau in Ontario and change my gender from male to female in about 10 minutes, hey this is the law here in Trudeau's whacky whacky Canada. So once I am legally a woman, good luck not hiring me, I will sue you into the ground, and win!!! Men are competing in women's sports as women, and mopping the floor with the women athletes, this is being done all over the globe. No idea why cinematography should be any different? R,
  44. -1 points
    Check any web forum on quilting, you won't find a single male member, why is that? Shouldn't it be 50/50, isn't that discrimination? It goes on, and on. It is clear that there are jobs, and hobbies, that are more attractive to each of the genders. The reasons why, nature vs nurture, etc, can be debated for the next 100 years. Even in acting, there is always a vast over supply of girls in the 11-13 year old category vs boys, the girls heavily out number the boys. Why? I dunno? What I keep hearing is that boys in this age group would rather play sports. R,
  45. -1 points
    Actually, no, when you make such a request as yours, one that is quite possibly illegal in the state of California.....this is the reaction you will get. R,
  46. -1 points
    You should of done a little reading before making your post Alexander: 1. Is gender discrimination against the law in California? Gender discrimination in employment is a violation of California state and federal law. Under California law, the California Fair Pay Act, California Equal Pay Act of 1949, and California Fair Employment and Housing Act (FEHA) make it illegal for an employer to discriminate based on gender.1 Under the FEHA, it is an unlawful employment practice for an employer to discriminate against a person because of his or her sex, gender, gender identity, or gender expression. This includes: Refusing to hire Firing or discharging an employee Refusing to select a person for a training program Discriminating against a person in compensation or conditions of employment2
  47. -1 points
    So you're saying it's my fault there are zero women posting here, emphasis on zero, not even one?????????? My argument about men becoming women, is fact based, and therefore not out of line. R,
  48. -1 points
    So what are you saying the first woman to be nominated for best cinematography should win by default because she's the first one? R,
  49. -1 points
    Can a film with an 8 week schedule shut down so that the lady DOP can give birth in week five? If so, how long should the film be down for before she can come back? These are questions that even the top women producers will ponder. Not sure what the answer is? I do know that there is no barrier to female participation in the film industry and that men are not to blame for the failure of the opposite gender. R,
  50. -1 points
    Should have bought an fx9 for $11K... 🙂 ..
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