Michael Struthers
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Posts posted by Michael Struthers
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Anyone work this shoot? Be very curious to know what they shot on, editing software, etc.
thanks
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Anyone work on the crew or know what it was shot on? DV? super 16? 35? Hd?
Seems if you know you are going to rotoscope the footage that a low end cam might be good enough.
thanks
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just saw it last night, if it had been shot by a 22 year old no one had heard of, they would be calling him the next great American Filmmaker...
Anyone know what camera was used to shoot it? Def video look to it...
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Kill Bill is impressive in many ways, mostly in the utter confidence that T. has. I'd be more impressed if he showed he could make something that WASN'T genre, just to show he doesn't copy absolutely everything.
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Just saw it at the Castro in 70mm, complete with Overture. The first half of that movie (before the intermission) is as good a movie as has ever been helmed. It's titantic. Last reel gets bogged in politics and unsure motiviations (just like his real life, I guess...)
The 70mm was great, almost 3dlike when in the British Hq at Cairo. Amazing detail in the desert canyons. The screen was the same size as when 35mm is projected. Just seemed to have more detail.
Okay, I know you guys have seen it, but it's not often that you see it in 70mm. I just love that movie.
cheers
Michael Struthers
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Thank you guys. I will opt for the 54 since I want to own it for a few shoots.
More or less what they said. >8)the LTR7 can be serviced, but at a greater cost. The camera is by no means a dinosaur, it's just an older mammal. Many parts are interchangable, but some subsystems need to be replaced entierly and retrofitted with newer subsystems (which may in turn need to be modified) in the event that an older part fails. This is where it gets expensive. I had to put a new-style claw in a 7LTR recently, which forced me to file down portions of the claw arm to clear the bascule assembly, which added a few more hours of labor to the cost of a new claw. It is also more difficult to silence the 7LTR. It can be a little louder then the 54LTR. The only thing that will completely total the camera though, beyond somehow fabricating your own (we have the schematics) is the base electronics. Once those are gone you might as well sell the rest of the body off for parts.
All in all, if you can find a well maintained body and the previous owner doesn't stick you with something already in need of major service... it can be a great little camera.
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An LTR 7 is cheaper, but is it worth it to step up to an LTR 54? Can you shoot synch sound with both? Handheld shots will be an essential...
thanks
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You can make big $$$ in porn, but the hours are long and you have to work very hard and you think a filmset is gossipy, it's times 10 on a pornset.
But they are using the new sony HDV's and are frequently on the cutting edge.
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Great stuff David, thanks.
35mm will be hanging in there for a while methinks.
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Anyone have any fave storyboarding software they like? B)
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Sounds like you felt exactly how the filmmaker wanted you to feel, so maybe they got it right.
Budgets are certainly a possibility and also if they were looking for shallow DOF then they might zoom in all the time...
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His perfectionism leads him also to being a very hands on director who likes to do things himself - so I think perhaps he is wanting ultimate autonomy in his work at this point - bring his efforts back to his roots as a painter who simply wanted his images to move and make sound.
He's not shooting it himself. He's brought in some people to shoot steadicam stuff. His distributors haven't even seen the script *L* Now that's clout.
When you have a poor image, there's lots more room to dream."
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to be called "Inland Empire", shot on sony pd-150's. Lynch also says he is done with film
What do you make of that? :blink:
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I just watched "Panic in the Streets" - an old Eila Kazan low-budgeter with Richard Widmark as a Military Doctor trying to stop an outbreak of plague. (and a great old-school villian turn by Jack Palance) but anyway, I was amazed at Kazan's one shot scenes. One shot - next! One shot - next! He was working hard in blocking, you could tell he came from the stage. At first it seemed so amateur, because I'm used to quick-cuitting, but then I thought it was damn cool....even if it was a result of a low-budget. He did all the work in his mind, and saved less for the editor.
Same with "Elephant". The first ten minutes I thought it was crap. Then as I got used to the laws of the film's universe (every film has them) I was mesmerized. I walked out the theater thinking Guz Van Sant really is an artist and is the only guy trying to rewrite the language of cinema. Gerry didn't work, but Van Sant is one guy that is swinging for the fences.
Beautiful.
Just writing about these films inspires me B)
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Well, it was def better than another b-horror/slasher film, but it felt like he got to the last third of the movie and it collapsed. Threads went astray, feels like he tried to save it in the editing room, but realized he didn't have any coverage...
Hey I'm all for his success. He's getting every script in hollywood thrown at him. But I didn't think that much of the flick. I thought Pi was much smarter and held together better. <_<
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The cutoff for this movie seems to be around 30.
If you are below 30, you liked it.
If you are above 30, you hated it.
Which is why execs selling teen films don't trust people over 30. Writers, directors, anyone...
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Same here!
Geniuses don't usually kill themselves. :rolleyes:
If they want their project to fly Box Office wise, they'll take Jude Law. If it's black and white and all for art...then they could pick anyone.
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Landon, you sure are doing a lot of "raping" in your feature...sure it'll get past the sensors? :lol:
I'm doing some greenscreen work, and with modern tools, if you are going for a surreal type of look, even SD is good enough. If they have to "really" live in that world, I might go super16mm instead.
Again, DVC HD is HD, Digibeta is SD. Digibeta is Interlaced, Varicam is Progressive scan, Digibeta has like 500,000 pixels, Varicam has 1.1 Million. Varicam is not as compressed as digibeta....Of course There will be a difference in the quality, and most people will be able to see it. Recently I was shown a test of a Varicam vs. HDW-900.... You would be surprised how much difference a little lower compression and twice the amount of pixels make.
If you have plans to shoot with a varicam, at least use a HDW-F900. You can get them now for $1,200.00/day where as a Varicam will run you at least $900 if not $1,000.00.
You really can tell the differnce between 1.1 Million and 2.2 Million pixels, trust me. Even more if it's on greenscreen, where you need every last pixels you can get. It's worth another $200/day.
But back to your question; No, Digibeta will not be as good as DVC PRO HD. As fare as Image quality anyway. It may be cheaper to shoot, but again we com back to my original statement: "You get what you pay for!"
Just my opinion on the matter.
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"Anyone unfortunate enough to be stuck in the UK, that's who."
Why Phil? So you have easier access to the USA?
Just drive across the border when ever you feel like it?
Every summer here in Canada boat loads of immigrants will show up and claim "refugee status" in Canada. Which is a pile of you know what.
Then as soon as the Canadian gov't releases them they sneak into the USA under cover of darkness. Canada is just used as the patsy nation, they don't actually want to live here.
The Chinese criminals that do this are called "Snakeheads". They load up an old boat and head for Canada. Even if Canada's pathetic coastal defences intercept the boat, they still have to bring all the illegals ashore and give them asylum hearings.
My favorite was the guy who claimed he'd be persecuted back in China because he was Catholic, they asked him to name the Pope, he could not.
Sounds like there is a film to be made about Canadian immigration - a $1000.00 film!
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But I think someone pointed out before, by spooling your own loads they are not as light tight as the factory loads so you have to be more careful about loading.
I still think for me, though, I would use the money for an A-Minima to purchase an XTR or SR2. Then you wouldn't have to take the time to respool anything.
In my opinion, the A-Minima is much more of a specialty, rental camera than something I would want to shoot with constantly.
True, but just the portability of the a-minima makes me want to shoot with it. I guess I could get an old Eclair too, if I can find one light enough. But timecode would be nice...
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I am also considering a s16mm cam and was very interested in the Aaton A-minima. What used super16 cams are reliable, light and reasonably quiet?
ms
If you're going to spend 15 grand on a Super 16mm camera, why not throw it into something that is a little more viable for a wider range of products? Sure the A-Minima is a great little camera, but why limit yourself to 200ft loads (and specialty loads at that, which you will only be able to get factor sealed as far as I know).You can get a nice used SR2 for 18,500 according to the Visual Products website, and if you don't mind fiddling with eBay auctions you could get a camera for half that (like an XTR or SR2 that is already super16) and just have it overhauled for a couple of grand.
That's just my opinion. Unless there is just some totally specific reason you need the A-Minima I would get a different camera if you have that kind of dough to spend.
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I had the distinct impression while watching it that it was on purpose, and it also was jarring and threw me out of the scene. Overall I think, a mistake that was well-intentioned.
I still loved the film.
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I choose chick DP's cuz they are way hot and I can bang them off set. Who cares what the damn film looks like?
:P
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Burton is a great visualist, and a mediocre storyteller. I think he has shot his creative wad a long time ago, but I never count anyone out. Somebody give this guy a great script, he may yet pull off a great movie.
"Edward Scissorhands" is a minor cult classic.
Over-use of close-ups.
in General Discussion
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And the biggest reason is....
It's cheaper.