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Paul M. Sommers

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  • Occupation
    Cinematographer
  1. I miss the 400T reversal film. I've been begging Kodak bring it back since they discontinued it. The 85 is one of the only stocks that really has it's own "point of view". 100ASA daylight makes it hard to work some interiors and really difficult to do night work. Paul Sommers
  2. I was on the show for about 4 years, shooting 32 of the episodes. The flashbacks in every episode are approached in a very different way, and the expectation is to create a distinct look for each episode. It tends to be a pretty experimental environment overall. I would venture to say that every media except Pixelvision has been utilized. VHS, super8, 16mm, skip-bleach, crossprocess, pushing, pulling, odd lenses. You name it. The present day look when I was there was pretty straight 35mm timed cooler rather than warmer. Lots of long lenses and moving camera. i haven't watched it in a while so things may have changed. Paul Sommers
  3. Call Jeff Cree at at Band Pro. He helped to develop the camera with Sony and is heading out the rollout. Teh menus are very similar to the F-900, it's just better. He told me that this was the biggest advance in video technology since they stopped using tubes. Pretty big words. Give him a call he seems to be the guru. Paul
  4. I will say this for sure. Loaders get that glazed look in their eys when you mention shooting with an Aaton. Of course this has more to do with familiarity than anything else. Once they get the hang of it the potential problems dissappear. Both the 16mm and 35mm cameras are wonderful handheld and on steadicam. I do wish that the a-minima had an orientable eyepiece. Also since I've gotten into the habit of operating off the mag when on a fluid head the 35-III can be a problem ( don't do it, the camera tends to jam). Small complaints, I have more isues with HD, many more. I look forward to the realease of the Penelope. With the advances in film stocks I have a feeling that 2-perf will be very popular for a long time. I just shot a 2:35 movie on spherical lenses. We shot 3-perf. The savings would have been substantial in stock and processing. That could have gotten me another technocrane day! Paul
  5. Let me state for the record that I cam up operating A-cam and Steadi. It's a really hard call. I often feel that I will respond to the scene in a much more personal way than an operator, but that said I am looking for very different things than an op. If the scene in in a confined spece and I want to be in there with the actors. I feel that I can take more chances, that an operator may be concerned about taking after a shot is "set". That said a good camera op can solve problems that arrise during lighting that a DP doesn't have time to deal with at the moment. I just shot a film where i operated A-cam, even though I carried a full time B-cam crew. In retrospect I wish that i had an op on the job. It slowed me down and made it harder to communicate with the director ( we couldn't talk during takes). Had I had a op on A I think that the show would have been easier on me and we may have gotten a few more shots. Luckily we were shooting film, because when you shoot HD, the cocktial party forms around the monitor and the opinions fly from all comers. It is definately in the DP's best interest to be a part of all of those discussions. Ultimately it is a personal choice. How do you want to work? I spend most of my time in the thick of things on the set, and only when the AD says "turn over" do I run back to the monitor. it seems to me (opinion for sure) that that is where I belong when shooting. I will continue to op the occaisional shot, but I want to have full staffing from now on. I also agree wit David. For the right project, cramped spaces, with a director who is on set all the time I would operate again, but it would really have to be the right movie. Filmaking is a team sport. If you have a good crew working with you, it is amazing how much better things turn out. Let's face it no one can be brilliant all the time. I can't tell you how often an operator(as well as my gaffer, key grip, dolly grip or AC) have saved my butt by making a good suggestion at the right momont. Something else to take into consideration, Local 600 is being very stingy with granting the operator waiver. The leadership of our union is really trying to protect the position after the disaterous contract give aways. If we all start operating our own cameras i have a feeling that there will be a union backlash towards us. ( I felt it on my feature), as have a few of my friends. Having operated for many years as A-cam, B-cam and Steadi, I find that it is hard to let go, because let's face it operating is a blast. Paul Sommers
  6. I started in Chicago in a nonunion environment as a Grip/Electric. As my career progressed I focused more on Dolly and Key gripping. Later I moved into Steadicam as well as traditional operating. Every phase of my career has had an impact on the way I shoot. I think that my ability to communicate with all of the peole that I work with has proved invaluable. The wrong light in the wrong place always requires a lot of shaping, and a light on the edge of frame is often the nemesis of an operator. There is no right way to learn this craft. We all come up our own way. When I pushed dolly I thought that it was the best seat in the house. As an operator I said the same thing. Getting to work with other accomplished craftspeople has taought me a great deal. But when it comes down to it sitting in the big chair teaches you more than anything else. Having wide experience allows you to draw from other people's tricks and apply them to your shoot. Paul
  7. I haven't noticed green, but there is a definate shift towards blue. Paul M. Sommers
  8. Push 7279 3 stops and bleach bypass it 100%. Set your meter at 2000asa and you will get some really gritty footage. I like the antique suede and the tobacco filters. Your operator will curse you because there will be so much nd infront of the lens he won't be able to see anything, but it will look great. Whatever you do don't let them do it in post. You should maintain as much control of the image as possible. What you put on the negative is yours. How well do you know the folks in post. Would you let them light the lead actress? Paul M. Sommers
  9. I just shot the flashbacks for an episode of "Cold Case" cross-process push 3. I had to have the push because the murder was shot on a bridge 30 meters above the river and about 200 meters from either riverbank. This situation calls for alot of light even pushing three. I think that i had 18 12k pars, 2 18ks and a 6k working the whole time. I found that the stock doesn't handle overexposure at all, 1/2 stop over yeilds no detail in the highlights, 1 stop under you can barely see detail. Too your eye the lighting looks flat and boring, but the chemistry gives you contrast that is suprising. The color shofts to green in the skintones(this can be taken out in camera with a magenta 30cc filter or in telecine. The contrast bleeds in the transition between black and white (hot window and black haired actress). I love it. There is no way that this look could be achieved in post without a tremendous amout of work. As it is my dailies transfer guy worked very hard to get it to this point. Let me know what you think. Paul M. Sommers
  10. Having pushed dolly and been an operator I have to say the Panther is a nightmare. The Low-mode is awful. The Jib always looks like it's about to tip over and kill someone. Rear wheel steering and that whammy bar thingy are a joke. I'm still wondering what's good about them. I'd rather have a Fisher 10. 95% of the time you can get it into the place you need to and it's stable enough to shoot with long lenses even in low mode. The Fisher 11 and Chapman PeeWee are terrible when you shoot long. The arms are not stable enough. If you are shooting in an apartment on the third floor do your guys a favor and get one, but otherwise... Paul
  11. I'm wondering if it will have the same color output as the HVX, 4:2:2? I like the fact that it goes to tape instead of cards. I am wondering about it's method of achieving the 24f mode. David mentioned a strange conversion process in regards to another camera, does this so something similar? They are not claiming 24p, but 24f. Paul M. Sommers
  12. The low end will go to muddy pretty quickly once you push this stock. I have had to push it two stops on occaision, and found that about 2 stops under key you really start to lose detail. If the walls are dark tones forget about it. Shooting 85 really gives you some respect for the masters of the 50's, 60's and 70's. This stock makes it's own contrast, if you embrace it it will be your friend. If you light like you are shooting 18 you will either be very dissappointed or very happy, depending on how contrasty you want your image to be. I'm going to be shooting 85 cross-prossess push 3 next week for about 4 days on an episode of my show. I'll let you know how it goes. Paul M. Sommers
  13. I also shoot a TV show (Cold Case) and i will be interested to hear how your transition goes. I don't get the benefit of 2 DP's, so I'm always prepping shooting and posting a show. It's a hydra of a process, best of luck. Paul M. Sommers
  14. Control is an issue. If you shoot b/w, that's all they get. Everyone makes the commitment and no one can change their mind. I always feel that the more you keep it in camera the better. Test the 7266 Tri-x reversal stock. It is crazy beautiful. the contrast range is perfect. I shot a 1940's episode and was so pleased with the results. I only wish it was made in 35mm. Paul M. Sommers
  15. I agree with David. Though the new 50D is supposed to have amazing saturation, it would be nice to have a higher ASA option with the same level of saturation. I'm wondering if anyone has tested pushing this film 2 or 3 stops? Paul M. Sommers
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