Rory Hanrahan

Always always always report lens and stop. If there are no spaces for this on the report, then use one of the comments lines. In fact, you can skip a space between each scene and write this in the comments box of the skipped space since the lens/stop is generally stays the same for the entire scene, not counting outdoor ambient light adjustments etc... Just make sure it is clear that the info is for the scene following on the report and not the one preceding it. One of the challenges of camera reports is keeping a ton of information well-organized and easy to read, which can be a real hassle if you normally have bad handwriting (like me!). Find a way to get everything you need on there and just make sure the people who have to deal with your notes can make sense of it.

Ain't that the truth. Also, and old beat-up changing bag can serve well as a lobster bib when its retired. Mine will anyway...

Films by the Maysles Bros. (Salesman, Grey Gardens) feature great cinematography that's not very flashy but serves the subject well. An old documentarian friend of mine first pointed out to me how Albert Maysles would be able to anticipate action before it occured and have the image set just before the event played out. Another interesting observation of his method reveals that Maysles, when zooming, would be able to have focus set before even completing the zoom, ensuring that the image was always sharp and never calling attention to the camerawork itself. It seems that skills like these are somewhat lost today as obnoxious rack focusing and shaky handheld have become more accepted, but I digress... I recommend "Gimme Shelter", the Maysles' doc about The Rolling Stones circa Altamont. Not only is it beautifully photographed, but the editing is amazing as well, garnering editor Charlotte Zwerin a directing credit on the film by the time it was all said and done.

...I'm speechless. No wonder he's selling the thing!

While transferring to MiniDV is an effective solution for beginning filmmakers (and the first choice of many people when I was in school), I find that too much information is lost in the conversion. I shot a short film on 7289 and had that transferred to MiniDV (I made the choice because I had a DV deck at home and couldn't eat the cost of renting a DigiBeta or other higher quality deck). Between the initial transfer and the re-compression that came with outputting audio/video synced files to edit, I lost everything about the stock that I was looking for, including the color rendition and grain (I had rushes made from the first day of shooting so that I was absolutely sure the camera was performing w/o scratching etc. Comparing the later DV dub to the dailies was... humbling.) So while this method is very cost effective and fits into the desktop editing workflow, it certainly has its drawbacks. Of course I just saw a film I gaffed transferred to DVcam, and it looked significantly better... on a 13" monitor!

I noticed this as well in some parts of the movie. I think that since the objects in question (the radio, the woodgrain wall in the diner) were largely inanimate, or if they moved the entire object moved as one, they appeared sharper than many of the other elements, which tended to flow more (and as a result were softer). In my opinion, this is what caused the distinction between some of the props and the actors, although I agree it did create a very surreal effect (especially in terms of perspective/DOF).

Supposedly the reason Lynch chose to do this was because he felt the softness of the blown-up image was comparable to the resolution of older stocks. I understand that there was a 35mm camera on standby though... as a prop.

Ah, Chinatown bus. The official transportation source for poor AC's who need to haul a** up and down the east coast!

This is currently my favorite way to work. When I'm working sans monitor I always have a nervous buzz running through me, even if I'm 100% sure I hit my focus marks and the operator gives the OK. Being able to see it myself takes a load off my mind and I move on to the next setup feeling like we really got it. Of course I see having the monitor as a luxury though. I'd be screwed if I had to utilize it as a constant crutch.

I agree, the placement is way better on the XL -- as you mentioned earlier Canon's design was well thought out and actually innovative for the market it was in. I was really lamenting the overall state of sound recoding in the DV world. Please correct me if I'm wrong, but I remember the XL's as not having the ability to record a line level signal. Regardless, I would take an XL2 over pretty much any DV camera (with the exception, of course, of the DVX). In fact, I own a GL2!

It also means being aware of exactly what you have left (how many rolls, how many feet, etc.), even when you're away from the loading area. When I 2nd I make a list at the beginning of every shoot counting every roll being used for the production, then amend the list as the shoot continues (including what mag the roll goes into, if there are short ends, etc.). This is especially useful if we are supplied short ends from the beginning, as I can match up loaded mags with appropriate scenes (and I don't load up a 200 foot short end for a shot lasting 3 mins.!). This list stays on me at all times, so if the DP or 1st has any questions regarding stock I can answer accurately, instead of relying on my (somewhat unreliable) memory. Never be afraid to ask the 1st or DP to walk off set and load/unload. Obviously you should try to do this at an appropriate time, such as an intensive lighting set-up, but any DP worth their weight in silver-halide will know the importance of having a fresh batch ready to go and will let you do your job.

Danielito, I just wanted to juxtapose these two comments so that, like everybody here, I can help steer you in the right direction. You obviously hold Rodriguez in high esteem, and rightfully so. I suggest reading his book "Rebel Without a Crew", if you haven't already. As a young filmmaker (as it seems you are), RR shot many many shorts on a 1980's consumer-model video camera. Even his early film shorts (Bedhead for example, on the El Mariachi DVD) were shot on non-sync 16mm cams, without many pro lights. And you know what? The films look that way. BUT. What was learned in the making of these shorts were technique, storytelling, composition, timing, lighting, ability to work with actors, etc. At this stage, this is what you should be focusing on, however unglamourous it may be. Format isn't everything. I've seen some great movies shot on Hi-8, and some real poop done on 35mm... The easiest thing to do in filmmaking is sink money into gear. Unfortunately, gear doesn't make a movie on its own, you need to command it. I hate to sound discouraging, but the film you are making probably won't set the world on fire. At best, it will be seen by friends, family, prospective film schools (!!!). What will sell you as a director, DP, whatever you are, is not the pixel count of your movies, its the skill, ingenuity and passion that comes thru the screen. Good luck, keep shooting.

I feel that the sound system on this camera is virtually unuseable. The poor placement of inputs, plastic housing for said inputs, as well as the terrible pre-amps suggest that the 150/170 is only good for recording scratch track. Unfotunately the sound system on the XL series isn't much better...

In a way, you've answered your own question. There are so many variables and influences outdoors (haze, humidity, wind, the above mentioned barometric pressure) that it is virtually impossible to replicate these conditions in a controlled environment. So even when an exterior-set scene is done successfully indoors, it is hard to fool the perceptive. Also, consider the sun as a source of light: because of its size, distance and intensity, it lights in a unique way. Even though we can light indoors to the perceived brightness of the sun, a man made source at a workable distance still will not wrap around a subject, or move throughout the day (causing minor shifts in color temperature) that we are all naturally used to. This is an interesting investigation into exterior influences though, and I'd love to hear more opinions and experiences regarding this subject.

First, I would suggest going with a changing BAG rather than a TENT as a first purchase, mainly because of the price point (approx. $20 compared to $150+ if memory serves). Loading and unloading a CP16 (aka "The Tank") is actually very easy, considering that you only have to load the feed side in the bag and then can take it out to thread the camera and take-up reel. Just make sure that the locks on the CP16 mag lock properly and won't pop open in the light, which is a problem I've experienced with this camera. The best advice is to take your time, and eliminate any external pressures (don't load on-set!!). Make sure that you're not wearing an Indiglo or other luminous watch, because even that small amount of light can fog the film. Take as little with you in the bag as possible, and keep track of those items while in there. Don't use scissors in the bag, as you can cut a hole in the material (possibly without knowing it) and ruin the bag and your film. Make sure that the bag doesn't get stuck in the mag when you're closing it, as it can make it pop open when removed. You can load in a lit room with a changing bag, the lights don't have to be off or subdued really (although you should be careful of strong direct light striking the bag, like film lights if you're near them, just to be on the safe side). Good luck!

Alright, I'll take the heat. I'm 24 and working as a 1st in Philly and NY. I've only started doing production work as a semi-full time job recently. I've been teaching digital cinematography and lighting for about a year and a half now, and looking to branch out and gain more experience. I've been jumping into HD and 35mm shoots recently, which is a nice change from DPing no-budget Super16 films with a cast and crew of 5 (yeah, my actors pull cables...). I'm hoping that in the next year or so I can move into ACing full time because I love working on set and dealing with the challenges that arise from working in a creative/technical field like this. Of course I'd like to find some opportunities to DP a film with, let's say... lights, in the future, but I'm happy pulling focus and learning the ins and outs of the craft while I'm developing my photography skills.

No reference at hand but I believe this was shot the same as Waking Life, on DV cameras with the footage used as an animation reference in post. No reason to shoot film or Hi-Def, as many of the details are being created later on. Linklater is also a supporter of using low end media to make films, evidenced by Tape (2001) shot on DV and his first film It's Impossible to Learn to Plow by Reading Books (1988?) shot on Super-8.

Whatever the problem is, is sure isn't backfocus. This is because the VX2000 (and all Sony prosumer cams) have fixed lenses, meaning that unless there's some MAJOR internal problem, the lens is focusing on the CCD (and if it wasn't, every shot would be soft). Backfocus really only comes into play on high-end Hi-Def cams and lenses (there are some articles regarding backfocus on this site, so look them up to fully learn what its all about). Without a hands-on check its hard to diagnose this problem, but it could be something as simple as the auto focus locking onto something close, like a foreground object or dirt on the lens, or a common problem I have with LCD viewfinders: what appears sharp in the LCD is way out when viewed on a better monitor (the LCD's are notoriously low-res). Try focusing with the viewfinder instead, or even better with a connected montor. If neither of my suggestions apply, and you're intent on hanging onto this camera, then bring it to Sony for repairs. They're probably the only source for an in depth reason as to why this problem is occuring.

Look at the work history of your favorite cinematographers. The changes that their work goes through film after film is not just a case of them deciding to try something new, but a result of working with that particular director. Unfortunately, some directors can be more controlling than others, or can have poor communication/work habits. Hell, some DP's are that way as well. In the end, you are being paid (or have an agreement) to do a job, and must deliver what your client wants, as long as the work they are asking for does not reflect negatively on you (hence the cutting together comments). I'd rather work with a director that has a strong sense of what they want visually. The worst thing in the world is to show up on set and have the director be passive about the work you're doing, as if its an afterthought. Kubrick went so far as to operate camera on a number of his films. Would you argue him on that point, if you were skilled/lucky enough to work with him?

RE: Stripes & Ghostbusters WOW. I've never heard anybody ever respond negatively to either of these movies (not to negate you're opinion). I always thought of the 80's to be a sort of grace period for comedies like these, which don't seem to be made anymore. AI: The only time I've ever fallen asleep in a movie theatre, only to wake up and ask myself "Is this still going on!?!" I think that the last 4 or 5 of Speilberg's films ended about 30 min. after they should have. AI also begs the question: What would happen if Speilberg directed The Shining... "Yeah, I like the script, but we need a cuter kid!" Pre-emptive strike: Click (starring Adam Sandler). I truly believe that the writers had a first draft bashed out by 9:15 AM and quickly deposited their paychecks at the bar. Seriously, this is the most cliched concept ever commited to celluloid.

Have you considered going direct to hard drive from the camera? I just discovered the FireStore from a company named Focus Enhancements that seems like a good solution to the still-expensive P2 cards. I haven't had the chance to try this out yet, so I can't vouch for its quality, but it's priced at about $1,500 for 100 GB. Focus' website lists the release date as early 2006 for the HVX-compliant model. Has anybody here had any experience with these drives?