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Phil Connolly

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Phil Connolly last won the day on November 5

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About Phil Connolly

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  • Birthday 01/12/1979

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  1. Generally I can find something in a shoot that allows be to practise or learn things. I've done some quite dull multi-camera sports camera operating in the past. On those, I'd try to keep it interesting by operating the tighter shots, forcing my operating to work hard. Doing the wide shot on a football match? Thats hard to stay interested. The UK weather doesn't help. I have done some corporate type jobs as a director/self-shooter where it's really hard to stay motivated when the content gets so dull and you run out of ways to make it interesting or you don't have time/resources to do the job properly. That's when I lose faith, when I'm doing a job, that I know it won't have a good outcome and it's hard to fix it. E.g the client wants to be the presenter etc. etc. I realise I should stop taking those jobs.... I am trying to be more selective, but it's very hard on the freelance market, some you have to take what comes. It can be pretty lean pickings on the directing front (in the UK) because of the amount of competition and low rates offered. I also say "yes" too often because of that early day freelance fear of not affording to say no. It's a hard habit to get out of, even though at the moment. I have too much work on my plate. I probably should have turned a couple of things away, rather than killing myself to do them.
  2. Indeed or the 2.5k Blackmagic cinema cameras are probably coming down into the price range. Although lensing on both might be an issue if you want "all in" for £600
  3. Sometimes with digital the industry come's together and compromises on a set of workable standards. Audio CD's and DVD's were an example where every manufacturer worked on a compatible format. And cinema DCP's have an agreed standard. But I agree, in camera town fomat wise, its crazy. Also the camera manufacturers don't always talk to edit software producers to attempt cross compatibility. I've encountered some weird camera formats that take really convoluted routes just to get the footage onto a bog standard Avid timeline. The panasonic 3D camcorder was particularly painful to post produce, I still have nightmares....
  4. Netflix type HDR, just needs a camera source with enough dynamic range to be graded into the HDR colour space. Typically Alexa, Red et al are fine as are modern filmstocks and scanning techniques. Its kind of the grading equivalent of cinema mix vs TV mix in audio. Also HDR is a bit hit an miss depending on the display tech. A lot of so called cheaper HDR TV sets that use edge lit LEDs can't really reproduce HDR that well. I have a low cost(ish) Sony TV - and I can't get any version of HDR on Netflix using the TV's HDR "mode" to look decent, no better then normal dynamic range because the panel can't reproduce HDR Same with cinema - outside of Dolby cinema and IMAX laser - typical cinema DLP projectors can't reproduce HDR images.
  5. Second the Blackmagic video assist 5"- its probably the simplist option and its useful to have a confidence screen. I used to use a BM Hyperdeck shuttle - the one without the screen. You just had to trust it was recording - also I accidently recorded timecode in the hyperdeck footage a couple of times by not having a screen and forgetting to turn the display info off the camera SDI out.
  6. You need a fork lift to move a 70mm IMAX print
  7. In terms of fair dealing music you can use it for free but it has to be for journalistic purposes. So if you played a short section of copy right music and then discussed/reviewed it afterwards thats fine. If your just using the music on your sound track with no commentary thats not fair dealing and a copyright violation Or do what every else does: Itsssss freeeeeeeeeeee
  8. Even when copyright is cleared ripped content is used all the time. I use to work on those "100 Greatest Movie Moments" , "Top Best Songs of the 90's" - typical list shows that would go out on mainstream TV. All the clips and music would have to be cleared individually or under blanket license, Once the license was approved you'd hope to be send nice copies of the broadcast master tapes, some times you were lucky and had them in your library. But for short clips it wasn't worth requesting the distributor shipping an expensive master copy of "Dumbo" for the 15 seconds its used in the compilation. We would just drop down to HMV buy the DVD, dub the section needed to to digit-beta or rip the file directly and cut into the show. No one spotted the minor drop in quality, some times the shop purchased DVD looked better then the in house master tape. Fully legal because we we had permission to show the footage and how were sourced the footage didn't matter. Many cinema screenings have been saved by DVD/Blu Ray because the studio couldn't provide a decent 35mm copy
  9. My dream shoot would either be Labyrinth 2 or Stephen Kings "The Long Walk". Alexa + Cook Anamorphics for Labyrinth. The Long Work would work best on iphones, android, go-pros operated by the actors with the odd domestic drone shot to space. Intercut with 2/3" news footage shot on Digi-Beta. Failing to get the rights to those, there are a few comic personas on RED USER that would make the perfect subjects for a "Gondryesk" meta comedy. I'd write that soon
  10. In Europe (still just) Future Projections of London have a lot of 70mm experience and sell refurb gear: http://www.fproj.com/
  11. Red have a habit of announcing vapourware products that don't ship. The 2/3" scarlet was one of the products that announced to great fanfare, but they never actually released it. I can't remember if they took deposits, but a lot of people were waiting on it for a number of years. When Scarlet actually arrived, it was a different camera at a higher price point compared to the original press releases. They made a big thing of making a 3K camera for less then $3K only they didn't. Around the same time they announced various large format sensor cameras they never made. The also announced a ground breaking 4K laser projector they never released. Also there was this RED RAY media server thing that was going to revolutionise distribution and data compression, I think that existed but over promised in the specs More recently they didn't made the promised modular camera upgrade for the Hydrogen One phone and they have cancelled the promised follow up to the Hydrogen one phone. Of course many would argue the RED phone also over promised in terms of its capabilities. They have often announced products too early, either resulting in late delivery or products getting cancelled when they realise its not doable. When Red announce a product there is about a 50/50 chance of it actually coming to market in the announced format/price.
  12. Lots of ways to progress and the success you might get from doing a Post grad is also dependant on the programme. The NFTS MA in cinematography for instance is the exact opposite of Tylers comments. However the money factor is an issue, I wouldn't recommend loading yourself up with debt to attend a programme you can't afford. Debt can kill your chances of success in this industry way more then not going to Film School. With debt you can't afford to take advantage of interesting opportunities or pick jobs for what they do for career. The reality of too much debt is you'd have to take any job (probably not creative) to service the loan repayments, it limits where you can live and you became a slave to the repayments. You trapped into picking the better paid job. Early on in your career you won't make much money, but you want to give yourself a chance to try before you give up and "get a real job". Debt forces the issue and can be a dangerous trap to fall into. I would recommend the NFTS programme because I've seen what it can do for peoples careers, but it only works if you can afford it. I attended the TV directing course and one of the reasons I've struggled to capitalise on the experience was that I couldn't really afford it. I graduated with a lot of debt, so rather then pushing myself as a filmmaker and taking advantage of the learning and contacts. I just had to take any job and stay constantly in work to stay on top of the repayments. In my case post film school my opportunities were reduced, because their were so many job's I couldn't afford the pay cut to take. The 2 years I spent at the NFTS were among the best 2 years of my life. But they are in most countries, elitist organisations only catering to those that can afford it. Its a real problem for the future that only the wealthy will be able to access training in the Arts. And you see it all the time in the creative sector, many successful figures come from wealthy backgrounds and could afford to take a risk on a creative profession. Fortunately, there are other ways to proceed and their are plenty of ways to develop your craft as a filmmaker. Its never been so accessible. In terms of online learning tools and affordable tools to practice on. There are no barriers to you just going out and making stuff, learning and showing it to people. If your stuck in a rut, trying to get an assisting or trainee role on a bigger production is going to help bring you along. Its likely you can progress just as quickly as your friends by picking up more professional work experience. Also never compair yourself to others, that way lies madness. Sure there will be times when you see your friends getting opportunities you don't get. Its even more frustrating when its due to money issues. Its best to be supportive of their choices and in your own situation focus on what you can do. Its a long game anyway, people my have success very quickly in their career and for others its a bit of a slog. As long as you enjoy what you do and fine ways to express yourself creatively - thats whats important.
  13. The only time I've been asked for C300's is on jobs for US clients when they want a UK crew to shoot an interview/segment for a US production. The BM pocket 4K is also very good value for money, I've used it on several jobs with good results. Clients have never specifically asked for it but, but on the jobs where you need to provide kit on a tight budget its a great choice. Previously I'd be doing those jobs on a bog standard DLSR so its nice to level up and shoot on a more robust codec.
  14. They both look like fine cameras, both are quiet rare in the UK, the BM less so then the EVA1. Your market my be different. But when clients have specifically requested a camera model on jobs I've gone up for its either been FS7, C300 or Red. Black magic and Panasonic don't have as much brand penetration which may or may not be an issue depending on how you sell yourself and your kit. I guess if a client asked for an FS7 you could talk them into using the BM or EVA, but its an easier sell to have the specific item they are asking for. At the mid range corporate/broadcast/documentary that camera they ask for here is usually the FS7 - with Arri owning the high end. Of course not all corporate clients are going to spec a specific camera, beyond asking for 4K etc.. but if you want to hire it out, something with brand recognition is good. Also maybe the RED Komodo is worth considering if the release schedule works for you https://ymcinema.com/2019/10/07/komodo-6k-camera-a-badass-little-red/
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