Tony Brown

Isn't that what the audience craves and gives the scene the edge?

Doesn't annoy me in the slightest now you've explained that this movie is being made without renumeration. What annoys me is peoples professions being put at risk, not to mention safety. And if anyone wants help around Wendover I'd be very happy to help out. I'm sure there are many people in your neck of the woods would feel the same way, maybe you should put a little more effort into recruitment, especially on the AD side. You mess up the make up thats one thing, you mess up on the logistics at best you'll waste lots of peoples free time and goodwill, worst case someone may get hurt. Best of luck to you .....and having said that - use smoke in the woods.... lots. but do it safely and advise the authorities

Hi John I'm severely embarrassed to admit that I've only just become aware of your fight. As a member who dips in and out for selfish gain when needs must I feel I gain far more from the community than I give back. Nobody has contributed more to my nervous gibbering than yourself as your posts always exude experience and confident fact as opposed to opinion and the all too obvious suggestions. My beliefs cannot offer you prayer my friend but do not under estimate the positive thoughts I offer you and your family. May you recover fully and quickly.

Test. Any sync sound? If not shoot the sequence using a phase sensor

So you are now doing Assistant Director/Make up/Actress/ Grips...................Special FX or props or sparks (depending on country)and dabbling in decisions that the DOP should be involved in. Am I the only one getting annoyed by this?

many AC's use them as 'on board monitors'... I know one that charges £100 a day for his (and gets it!!). I wouldn't recommend you replace the normal playback route, but it is very useful for the AC and also as a back up system. Dont rely on it like a regular on board for operating though.... there is a terrible delay on the live image

How do you conceal pads on actors when boxing?? I thought you meant for camera. I shot 10 x 10sec adidas spots with Prince Naseem ... Got in the ring and played the POV of his opponent with foam pads around the matte box that he was supposed to 'dust'. His glove would fill frame in an instant and by the time it cleared I was looking at an empty frame and he was behind me. Unbelievable speed. I was also privileged to work with Ali a few years ago in LA on a commercial. A day I will never ever forget. What an experience.

If you dont get concrete answers from PV or a shipping agent in NZ you could try contacting Samfreight in London (Andrew Holland I think). They've arranged most of the carnets I've had to cart around over 30 years so not much they wouldn't know As for consumables I'd go to a regular camera store and get the rest online if its your money, but I guess you dont have time? Traffic in Auckland? LOL Good luck Nick (I know your name from somewhere - might I have worked with you in NZ?)

You dont need a carnet if you are traveling from an EU origin to another EU state. Otherwise you will need a carnet .... It really doesnt matter what the kit is. You can have a suitcase full of bath taps.......If they think you may be intending to sell it in that country (and if they decide that, then that is what you are doing and you will spend hours and maybe days convincing them otherwise) Your local customs website should have loads of info on this I take carnets out of UK all the time - believe me...... we are carnet

Expensive place for consumables so make sure you pick up some free advice Also ask them to let me know where Paul Lake is these days......

Golden rule - never cast actors I actually disagree with the previous post, mapped out fights always look poop. Teach them to fight by all means (takes forever), or use fighters, but they have to fight. If they know a hit is coming it will look like it. You might want to consider getting a second stunt co-ordinator in (someone recommended by your main man) to get ahead. Shoot the scene at the end of the shoot.... obvious why

You will need to contact NZ customs or a shipping company and obtain a carnet. If you dont you may well return home without equipment. Its essential you do this. It has nothing to do with why you are travelling but what you are traveling with. Failure to do so will result in impoundments / fines / local taxes.... Give PV Auckland a call, they are a helpful bunch....

Thanks for the suggestions. Shooting on 16 was not an option nor was pushing the neg The idea died a peaceful death

Do a search for forum member Oscar Jiminez - he's in Panama

Tell me.... I did 8 days there and have only ever been wetter in Scotland. Nice City though

They are fine for recces IMO but not for lining up shots. They lack the DoF information given by a viewfinder that takes the actual lenses you'll be shooting on. Consequently I never use one, however I would see if you can handle each one. If nicely engineered it would persuade me to carry one in my box.....maybe. The red and gold models are for grips only. They buy them and leave them laying around in their cars...... Dear grips. That was a joke. :rolleyes:

Its for Telecine yes.... but the director doesn't want to commit the neg, so I'd rather transfer to a smaller format and TK from that. I've zoomed into neg before (inspired by a film whose name escapes me - opening sequence is a zoomed into neg scene of a band marching down the street) and to be honest it didn't work. We took the centre cross area as our frame and it was nowhere near degraded enough. Thats why even printing onto 16mm worries me and I mentioned 8mm...... Also pushing stock is never enough either, I shot some pinhole stuff on the Kodak 800asa pushed to 3200 and it still was only just getting there - again that means committing the neg. This is for a commercial so its imperative we keep the neg as the client may not 'get' nor appreciate the concept and could want it fairly straight...... like they always do. I'm after Taxi Driver type grain....5293???? Maybe underexposing a 16mm print stock a couple of stops, force one and then 'digging' in TK might work.......

I want to shoot on 35mm to keep the neg good and for the depth of field benefits, however I want to induce grain (lots) without going into post fx which to me have always looked exactly what they are....fx So printing onto 16mm seems a place to go (or even from print onto 8mm if I could ...anyone tried this??

You're the Canadian - shouldn't we be asking you? :rolleyes:

Cant get a straight answer on this. I've rented #8 Tiffen filters for most of my shoots for some time now, thought it was time to buy some. They arrive designated #8 Yellow 2 They look slightly deeper yellow that the ones I've been renting (from memory - I may be wrong),as you would expect from e.g. a Tobacco 2 over a Tobacco 1, but Tiffen say its the same hue/saturation as the original #8 Anyone know for sure the significance of the '2' please?

I'm sorry that's simply not the mainstream industry here. Anyone who works to those conditions merely fuels the problem and deserves to work on those productions. Sometimes its tough to put your foot down but it has to be done. Its down to only one person to do so, the DoP. A 2nd AC should never have to stick his neck out and start calling the shots to production, the DoP will have far more experience on how to handle a situation (usually by himself going thru the AD). If you have no faith in your DP then go direct to the AD but do it in a reasoned and structured manner. Most productions worth working on work to an agreement (even if that agreement is currently out of the window yet again). I'm not against a 14 hour day in isolation, its what we do, sunrises, sunsets.... what DoP wants to work 8 til 5? But when there is no valid reason then it shouldn't be done. I'm always looking for ways to wrap electrical or 2nd camera early if its been an early start or we face an early call in the morning. Its just good working practice. Its a business we all need to be flexible in.

Why not get somebody involved who is studying make up for a living? How many people do you want to put out of work? How the hell can you do your job as an AD if you are playing at acting / costume & make up? You are not being fair to your 'friend' - it will be a disaster.

I agree - Only somebody who didn't know what they were doing would have a problem using any meter on a shot like that

Depends on your distance from subject to screen....... but yes if you are so close you are experiencing spill then it would be prudent to reduce the level

Sorry I didn't make myself clear.........I was referring to the diagram