Charlie Gruet

I've used the HVX several times in conjunction with FCP and have had no problems. Quite often directors, and even editors, ask me if the HVX can work with the Avid. I can only assume it does but before I make any wild speculations I'd love to hear from some of my fellow DPs who have experienced this workflow. Thanks, Charlie Gruet

I have shot several projects with the Varicam. I have heard from various people - ACs, Ad Agency Producers - that I need to use a separate tapes for overcranked footage and then run it through the Panasonic Frame Rate Converter, which is an additional piece of hardware. I have also heard Final Cut 5 has a DVCPRO HD FRAME RATE CONVERTER plug in which allows you to import the footage directly through the video card and (down converting and frame rate converting too). Does anybody have first hand experience seeing the whole process through - shooting to capturing. I have yet to get a firm answer from Post Houses, Camera vendors, Editors, DPs, etc. Thank you. Charlie Gruet

Phil, I was the one who wrote "it's a wonderful time to join in the fun." Perhaps there is a bit of insanity laced within that statement. Cold calling and mailing out reels isn't necessarily fun. I must admit it was not until I read your reply that I realized that our photographer friend was from the UK. I know nothing of the business over there, so, yes everything I said was in reference to cinematography work in the US. Are you fortunate to have worked in both the UK and the US? Because I would love hear more about the differences. In regards to my first post, the "fun" part is that anyone can be a filmmaker now. Granted, 90% of the films made may be awful but you can still have fun while doing it. Things are changing - technology and programming - and no matter where you are from, and what your profession is, you can be involved. There are film festivals in practically every city throughout the world, and, also a multitude of websites for the exhibition of your project. Positive encouragement, in this situation, was to take away the fear that some people exhibit when they try something new. Especially when it involves something as important as your career.

Mr. Mullen is correct about brushing up on your cinematography skills, the transition requires a depth of knowledge specific to the tools required for motion picture. I first worked as an AC then moved over to the still world, first as an assistant - then a shooter. I am now back working as a cinematographer (but not turning down still jobs either!). The trick is having an understanding of the various tools required for each job. While composition and lighting are essential for both skill sets, they are executed quite differently dependant upon whether you are shooting stills or motion. I would suggest contacting a motion picture camera rental house and asking if you could observe an AC prepping a camera(s). Learn your tools for the craft. Contact a lab, many of them have free seminars on various processing techniques. Also, with the advent of new technology, you're gonna have to learn those tools too!! Film hadn't really changed much, the chemistry got better, but the frame has been pulled in front of the gate the same way for decades - now, there is a new world of equipment and techniques. It's a wonderful time to join in the fun. Charlie Gruet DP LA-DC