Rory Hanrahan

Which is why when people are screwing around during a take (or we're screening wasteful footage during transfer) I've adopted the mantra: "50 cents, 50 cents, 50 cents, 50 cents, 50 cents, 50 cents, 50 cents, 50 cents, 50 cents..."* Eventually people start realizing that that's how much money is passing thru the gate every second! *Disclaimer: Price reflects 35mm shortend/recan, cost may vary based on production + location.

Of course not. The supply side smells so much fresher. I agree though, the smell of a newly opened can is better than fresh air and roses. Of course I'm also addicted to the smell of photo fixer, so maybe I've just got substance abuse issues.

Yeah, that'd be barking up the wrong tree! :D So does that mean unloading a mag is the eqivalent of changing a dirty diaper?

I remember when this production rolled thru a couple of years ago. The film is a great visual representation of Philly. You brought out a lot of the city's character that many other films shot here had missed.

I don't know if this is the "correct" answer, but I tell the clapper to be closer to the camera, and quickly pull focus back to the main action while he/she is clearing frame. The only reason I like to do it this way is that the clapper will get out of frame quicker by being close to camera. There's nothing worse than watching the dailies and seeing the slate-person scurrying away in an ultra-wide shot. Seems to waste a lot of time.

As an AC, I can appreciate what you are saying about it being stressful and not "in the heat of the action" (on set, in the scene), but just so you can appreciate where we AC's are coming from: 1. It's necessary. Try shooting a film without a clapper/loader and you will see exactly what I mean. 2. If I told my DP that I thought loading was a poop job, I'd be fired. Conversely, if I was a DP and my loader told me that, I would have my 1st going thru his/her rolodex to find our next loader. 3. I tend to have more respect for the DP's who have gone thru loading/clapping/lugging gear/pulling focus, than those who are only in the game to DP. Those that have done it seem to have an appreciation for the jobs that need to be done more than those who have not. If you feel that you are above loading, bully for you sir, and I suggest going for the gusto. As someone who is trying to work his way up thru the ranks, I suggest not dropping negative commentary about an established and required position on a forum dedicated to those working what you consider a boring job.

I don't know if there is much you can do once they are on the camera. Even if you do wrap them in some material, they will still pick up the cold from the camera body. When the batteries aren't in use though, keep them close to your body (or have your 2nd do this). Not in a jacket pocket, but in a layer closer to you where your body heat can keep them warm. You can always call or e-mail Arri and ask for suggestions for what to do once the batteries are on-camera and in-use.

If we're including recent films here then "Silent Hill" deserves the Golden Turd Award. Runner up: "The Flintstones in Viva Rock Vegas"

Definitely go with the Arri above the Chrosziel. I've done a few jobs w/ their FF and, while I never had any major problems, found them to be a little flimsy. No disrespect to the company, but I know some other AC's I've worked with have similar feelings about their design.

I agree w/ Stuart. Cokin's quality doesn't hold up to glass filters (not sure if they're plastic or some type of resin), but they're fine for doing work with video and, at that price, if one gets scratched or distorted you can easily replace it. Another benefit is that you will come to discover what filters you like using to achieve the look your going for at a very modest cost, which you'll easily be able to match w/ glass if you decide to move to a higher quality format later. Its funny, just last week a DP and I were lamenting Cokins not being more available in many camera + gear shops in the US. We had a set to be used as backups on an HVX feature, but they didn't really get a lot of play since we had a pretty full set of Tiffen 4x4's on hand as well.

21. Colored tape telling you where to stand. 22. Eyelights.

Wait wait wait... Considering that you can't accurately judge focus, etc. on even the best taps, does it make sense to block the viewfinder?!?!

Thats a damn fine question actually, and despite my post earlier (I was really just saying to be aware of this in ANY movie) I don't have a short-list in my head of movies with great pulls. To be honest with you, while it is important its not something I mentally file under "great cinematography notes"... While it may not be exactly what we're talking about here, try looking at some cinema verite films from the 60's, like the work of the Maysles Bros (Gimme Shelter, Salesman) or Frederick Wiseman (Titicut Follies). Its not news that I'm enamored with these films, as I've made mention of them in several posts, but the camera work (including focus, which is almost psychically spot-on) is outstanding. As for newer or fiction films... maybe Hard Candy, which came out recently. Its shot in a very music video style, I suppose, and all of the close ups are in extremely shallow DoF. I'm sure the puller had a hell of a time on that one.

16mm doesn't come in a cartridge. Neither does 35mm. Super8 is alone in that regard, and you'd be hard pressed to find short ends in 8mm considering that the standard length is 50' (far too short to shoot some, cut the role and repackage the unexposed end).

Also, try practicing turning dials as much as possible. Any dial will do - ovens, combination locks and old-fashoined car radios are a great "real world" source for dials. You'd be surprised how many rookie AC's get benched during their first feature for wrist fatigue. Seriously though, besides having an awareness of distance and getting on-set practice, its always important to understand the goal or meaning of the pull in regards to the action and the script. Sometimes just dialing in on the actor speaking isn't what the DP/Dir is looking for. Focus and DoF is a great visual tool, so (as strange as this sounds) be aware of focus and pulls in the films you watch and see when/how it changes (Is it fast or slow? Seamless or obvious? What are they intending the viewer to be aware of?). On the other hand, you could always bring a camera w/ follow focus to a shooting range and practice quick focus pulls on the paper target...

I just want to chime in with a bit of advice, for whatever its worth. Matthew: Its great that you're really investing your time into learning about the different choices of film stocks and are aware of some of the factors that apply to the overall look of the film, but remember: choice of stock will not make or break your film, and while the right stock should always be used for the right job, factors like lighting, composition, pace, production design (and don't forget acting!) will have a greater impact on your audience than your grain structure. It's easy to sit and sweat over the one "macguffin" that will make or break your film, the real challenge is working around your limitations (budget, time, skill level) and making a great (or even watchable) film. Regardless, good luck. You have a great resource at your fingertips, but remember to shoot something in between internet sessions.

I think you will always get a better result by doing the majority of your sound work in post -- meaning tons of ADR and foley work -- resulting in a bigger post budget than you may be planning for. Considering that the #1 detractor from most low-budget and indie films is the sound design (often an afterthought), it is well worth it to invest in good post-sound, which will definitely give your film a greater feeling of professionalism. Remember, while the image is more important than the sound, the audio will make or break your audiences' belief in the world you're creating. Don't make your viewers struggle to understand what's going on because dialogue is muddled, etc. If you're relying on location sound and it sucks, you're going to have to spend time and money cleaning it up anyway. Why not plan this extra step from the start?

The reference I was using was Kodak '76 B/W reversal ("low light") vs '77 color neg ("total darkness"), both in original daylight spool packaging. It's also not an issue of B/W vs negative, as the '22 is a B/W neg and is labeled "total darkness" as previously stated. I stand by what I posted earlier, and even made reference to the daylight spool/core issue. The estar/remjet comments are good to know though, and I'd be interested to know if there are any other factors as to why Kodak would differentiate between "low light" and "darkness".

After a quick freezer check I see what you're referring to. The low light/total dark differentiation is based on whether the stock is negative or reversal. According to Kodak, reversal is OK to load in low light, while negative (like '22) is intended for total darkness only. While I'm not one to suggest disregarding Kodak's labeling, I've loaded 500 ASA negative in low light withot losing much more than the first few winds on the spool. Be quick and be careful and you should be fine.

Because the K3 takes daylight spools, which feature flanges that protect the film from ambient light, you are safe to load in a subdued light setting rather than in total darkness. Because of the spool design, only the the first 5-10 feet or so are really subject to exposure while loading. I've loaded my Bolex (same basic design) outdoors on very sunny days (loaded in the shade) and experienced no problem, though your best bet is to find the darkest place possible. If you were loading film on a core (no daylight spool) you would have no choice but to load in TOTAL darkness. No light, not even "darkroom safe" lights, are OK for unexposed film.

You may want to check out the video for Boards of Canada's "Dayvan Cowboy", directed by Melissa Olsen (Google it). The bulk of the video is NASA stock footage of high-altitude parachute jumps filmed sometime during the late 50's-early 60's. It's an awe inspiring image, and may help you get an idea of what the stocks they were using at the time looked like.

I know what you're talking about. I've also seen other sound gear with the schematics clearly listed. Not being much of a sound guy, I assume this has to do with ensuring proper line levels and preventing too much or too little power/signal from being distributed. Any sound techs have an opinion on this?... And yes, this is a fairly easy device to DIY. As stated before, its basically an XLR-1/8th adapter with a pot thrown in the middle (I think other models may have some advanced functions). Anybody with 30 min. and a soldering iron could probably whip one up.

It's also called a Beachtek, after the company that produces them. www.beachtek.com

That's really smart actually, as I usually end up recopying my reports at the end of the day anyway (to clear up any typos, scratched out remarks, etc).

Most people involved in this industry do so because they are passionate about it, not because its a good (or easy) way to make money. Think of it this way: don't get involved unless you find NOT working as a filmmaker impossible. A lot of times you are going to have to make your own chances and really go out on a limb just to get your vision on screen, money is a compilication beyond even that. Only you can decide if following this goal is worth it to you. Just remember that not all filmmakers work solely in production. There are tons of jobs in media that, while they may not put you in charge of a set, can be very rewarding both creatively and financially. If there is a project that is truly important to you you'll be working on it despite the lack of funding. As for directing vs DP'ing, what is it about film that makes you want to pursue it? Is it the drama and story, the photography, having an interesting pick-up line at the bar ("Baby I'm gonna make you a star...")? Film school is a great place to find all of this out, and by the time you get out you'll probably have a better idea of what you want to do. Don't be afraid to try new things and work in new roles, you may be surprised where you end up compared to where you think you'll go now.