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Adam McDaid

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    NYC // LA
  • My Gear
    35mm, Super16, Alexa, RED, C500, DSLR and iPhone

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  1. FlowCine Gravity One & Alexa Adaption Plate / $4000 OBO Gravity One: The G-1 is the perfect companion to your Easyrig. It helps with common problems such as the string “fight back force” and also helps stabilizing your shots when moving. It also helps correcting for rotation jitter in both the roll and tilt axis. Alexa Adaption Plate: The adaption plate is a super slim top cheese plate that will enable you to put the balancing stage anywhere on top of your Arri Alexa/XT. The Slide In option, will let you easily slide on and off the Arri top handle or the Gravity One. If interested, contact me at adammcdaid@gmail.com.
  2. Could you be a bit more specific? Thanks, A.
  3. Walter, thanks for the critique, although it was brief as the majority of your comments focused on adapters. I understand your point of view regarding adapters but I'm not trying to market them. As a cinematographer, I've shot many projects on 35mm, Super16 and HD. This particular project had a very limited budget, thus restricting us to shooting an EX1 with an adapter and primes and not film. The decision to shoot with an adapter was a technical choice and I felt that it was the best tool to achieve a film-like depth of field. To help achieve this look, I also dropped a Tru Pola and enough ND to shoot the exteriors at a 2.8. Sometimes budgets dictate format. I appreciate your comments and understand your views on keeping it simple when starting out and learning the craft. Best, Adam
  4. This is a spec commercial I shot recently on a Sony EX1 with a PS Technik Pro35 adapter, Zeiss Superspeeds and a 135mm Standard Speed. Would love some critique about the spot. Please keep in mind, this is not full res, needs some color correction and the SFX at the end are still rough. http://www.microwavablepeople.com/fantasy.mov Thanks, Adam
  5. Ben, You have some really great work in your reel but, as you said, it's too long. Try to cut it down to your best stuff and about 3 minutes in length. It's difficult sometimes to make those cuts but you'll be better served by making them. There's some particularly good stuff towards the end, but most won't viewers get there because your reel is more than 8 minutes. Again, great work. Best, Adam
  6. Hey John, I'm not wrong. I was Janusz Kaminski's camera intern for the show and our day started everyday at Technicolor, where Janusz gave timing notes to his colorist everyday for three months. The DI was done at the end for certain scenes and not the entire film - it was a combination of the two. While The Crystal Skull may be some of Janusz's less inspired work, it hardly sucks. It looks good. Plus, he had Diving Bell to show how creative and innovative he can be when given the story. Best, Adam
  7. All of you guys are mistaken about this film being a DI that was then a film out. The only parts of the film that went through a DI were the effects shots that contained background plates composited over blue screen for some of the more epic exterior and interior shots (i.e. The Temple sequence when the gang's being chased by the warriors). By and large (85%), this film was timed photochemically. It amazes me how much Janusz bashing is going on in this thread. For the most part, I believe the work is a pretty good match to the others. There are moments where we see some signature Janusz moments (i.e. intense back lights, diffusion, etc). I like the choices Janusz made in this film because they were respectful of the previous work, but, at the same time, he made some choices that set it apart. For me, this worked. Especially the shiny depiction of the 50s and the idea that this was perceived to be a more idyllic time.
  8. Damien, Thanks for the kind words and notes I really appreciate it. In regards to the close up of the guitar and the strum, I agree. I shot a CU of that moment, but the director decided to cut it this way, which, ultimately is his choice. The scene in the field was shot at Topanga State Park in Los Angeles. We scouted that location and shot that particular shot at sunrise. We lucked out that morning with some fog, which really helped in bringing out the rays of sunshine. The rest of the shots for that scene were cheated and I did my best to disguise the changing sun. I shot the project on a Panavised Arri 435 with a set of Primo lenses. It was a really nice camera set up. I also used a variety of film stocks - daylight: Kodak 5205 (250D) and 5201 (50D); and tungsten: 5218 (500T) and 5217 (200T). It's difficult to say what the budget was for this project because most of the gear, film and processing were donations. We really lucked out here. I know the director still ended up paying close to 10K for food, permits, gas, production vehicles, etc. It was a fun project. Best, Adam
  9. Here's a 35mm short called The Rocker and the Pixie that I shot this earlier this year. The project's finally finished, so iI thought I'd share and, hopefully, get some feedback. http://microwavablepeople.com/film.html Thanks, Adam
  10. Joe, I shot a film a few years back where I rated the stock 1000 and pushed one full stop. The stock was 5218 and it held up remarkably well - not nearly as grainy as I hoped/thought it would be. I also shot an interior scene, which was a punk rock show in a club, where I rated the stock the same because I wanted to be consistent with the grain structure. Even with a back light that was 6 1/2 sops over key, the stock held up and wasn't nearly as grainy as I expected. With 5218, it seemed as though I could really abuse the stock and get some good results and, like you said, the telecine will help you as well. I think if you follow the suggestions David and Robert, you'll be in good shape with the lighting. Best, Adam
  11. Mitch, thanks for the help. I'll make sure the producer contacts you about our camera needs. Do you regularly offer student discounts? Have to ask because, as with all student films, they have the tiniest of budgets. Thanks, Adam
  12. What up dude! So good to hear from you man. It would be amazing if you could come down and help. Maybe I can just hire you as the gaffer and we can run around NYC and NJ like fools with an ARRI SR on my shoulder. Any numbers from your Columbia friends would be great. I appreciate it. Best, Adam
  13. I'm going to NYC to shoot a short film in February and, being from Los Angeles, I'm very unfamiliar with the New York film community. I'm trying my best to responsible to the limited budget we're working with and was hoping any NY based DPs, Gaffers or Best Boys could recommend a good place to buy expendables. In Los Angeles, I go to place called the Expendable Recycler where you can buy partial rolls of gel ad diffusion at deeply discounted rates. Is there a place similar this in New York that anyone knows about? I'm also looking for recommendations of good camera houses. The show is Super 16 and I'm looking to rent a set of Zeiss T1.3 Superspeeds. Any suggestions would be greatly appreciated. Best, Adam McDaid
  14. So all of the moves in your piece were accomplished with this Inslider? I really enjoyed the piece. It's a great concempt that's executed really well. It was very beautiful and lyrical. L loved the tone. Nice work.
  15. I think they forgot to nominate Janusz Kaminski for Diving Bell. That's a pretty big oversight.
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