Natalie Saito

I'm thinking about shooting with super16 to save money. But I heard that the film latitude is not nearly as good as 35. I intend to shoot a good part of it under low light situations. Can that be resolved with lighting or any other technique? Thanks for Reading! --Natalie

Hey, I'm a senior in film school. I propose to apply for the panavision package. I want to know from all the people who know the folks at panavision well to tell me how they choose the projects to donate cameras. I've been told by others that they reject films that contain "violent acts"...what exactly is considered "violent acts"? what if a crime was to have some kind of significance to the story's plot/meaning? thanks!

Hey I'm always interested. Send me more info. I've had some experience with both, certainly can use more!

what are some good deals on light kits? which is a good starter kit, something for portable field work, (3 or 4 650-watt tungsten) for photographers/cinematographers students? At camera stores..it's so expensive..if you include the stands/barnies/scrims. I've been wanting to have my own little kit. thanks! -Natalie

faster film makes it possible. in the old days they had to have a moving key light..which sucks. kubrick and alcott were just smart to use 3-wick candles.

stick with completing the photography education and then try working on a few independent sets -- try getting AC positions or if you can't jump on a set as PA and talk to the camera crew when you get the chance. Cinematography is all about photography but with motion. once you honed the skills in photography now learn the new tools (cameras and equipment) in cinematography.

that got me thinking about a home-made dolly. I've heard the ole skateboard but not sure of its reliability. I plan on doing a tiny personal project sometime but I don't want to have to rent out a dolly (and tracks, etc). I want the smallest crew, strictly camera crew and grip/light crew. I don't want to call on too much attention; just wanna setup, shoot and move on.

hey thanks for the advice. what's the difference between the expensive stuff like Panchro and other cheaper brand like rosco?

I really liked working with the Arri 35-3; it wasn't hard at all. I'm curiously to see how the footage comes out; we've toward the end of the last roll experimented with the frame rate. We didn't end up using anamorphic; we used 3 perf. -- I was told there wasn't any difference in camera operation, mainly that 4 perf. (typical for anamorphic) uses up the film quicker. I gotta question for the pros: while you shoot the camera, what would you do if you wanted to change the frame rates (regarding exposure) and zoom or dolly in/out (regarding focus) simultaneously? thanks for reading! Natalie

I've heard that if you shot the camera upside down, when the film is projected the motion is reversed.

Is there a good site where I can find more information on the Arri35-3. I'm going to work on a short film as AC, possibly loader, and I never used this camera. I want to be prepared. They are shooting with anamorphic lens, which I also never worked with before. thanks for reading!

Is there a good site where I can find more information on the Arri35-3. I'm going to work on a short film as AC, possibly loader, and I never used this camera. I want to be prepared. They are shooting with anamorphic lens, which I also never worked with before. thanks for reading!

Mini DV? in film school? I'm shooting 16mm color and b&w, not sure kodak or fuji. which is a better artistic choice? my film focuses on the visual interpretation; I'd need film stock(s) that can handle rich colors and low light. I heard kodak is better with subtle detail. which stocks would be good? thanks for reading!

haha..yeah you've gotta start somewhere if you want to be in camera. I agree being a loader sucks but the effort is well worth it when you see the finished product. Nothing in my mind looks better than film. Remember whether you are a loader or clapper (aka 2nd AC) you are still a key player in the filmmaking process. No one should or would rush the loader (they'd be a fool) cuz if that film is improperly loaded on the camera/mag everyone is screwed! For the clappers, the editors (sync) would love you,really; you'd save them an arm and even at times, a leg.

I do here that at least many student films do get donations of equipment/film at least..I assume because the company wants us to be regular customers later on. perhaps I can strike donations or discounts with rental houses/film companies, etc. film is a business like any other field. I met a guy who got a couple grand donations on equipment because they liked his story; but of course he has a strong background in business which he said helped him a lot. I guess i'll have to see. thanks for your advice! -Natalie

actually a short film. $20,000 is common for senior thesis films at my school. When I said paying attention to detail I meant the tasks the producers do to prepare for the shoot (equipment needed, location/permits, crew needed, props, set props, wardrobe, casting, shot lists, scheduling, etc.) My experiences was to prep for the shoot and working on sets but I never dealt with having to raise money and budget films. I either worked as a hired crew or made super-micro budget projects using my own money. I will have a packet to show when I'm finished..synopsis/treatment, exact shot list, breakdown of the budget for each dept. and people involved/basically crew. would professionals actually bother to look into investing "student" films..especially those that have no prior recognitions/awards under their belt? thanks!

I have limited knowledge of the producing side of film. When it comes to preparation and paying attention to detail I pretty much got it down. But my biggest concern, probably everyone is this business, is how to get the money to fund/make this film. How should I go about raising money. People tell me that "the producers [investors] follow a good idea/concept.. a good story." I got a story that seems to get good feedback from different people. How would I go about getting funds/help from professionals? thanks for reading! --Natalie

Most of us I assume have seen Hitchcock's classic "Vertigo." You know the POV shot when Scotty get nauseated from acrophobia--the effect when the background shrinks but the foreground stays the same and in focus. I know that they use a dolly and a zoom simultaneously to create such effect. But do they zoom-in and dolly-out or do they zoom-out and dolly-in? Also, how do they keep everything, at least the main subject, in focus? How would the 1st AC go about measuring the focal distance? thanks for reading! --Natalie

Right. Los Angeles

Thank you all for the great advice and info! Skill/talent is one part but good business/people skills are just as important. I realize that working your way up the rank is the safe way. But once you learn all the tools well enough you gotta start making your own stuff. I have heard several times that women have a disadvantage. I don't think it's our gender but rather that many women cannot meet the physical demands of being a Cinematographer (likewise for gaffer/grip). I've met 2 excellent female cinematographers who've proven themselves for the job. Women like men equally are disadvantaged if they are not well-suited, well-prepared for the job whatever job that may be. --Natalie

I'm a film student and I'd like a few suggestions from experienced dps, gaffers, grips regarding equipment... First off, which rental house has the best deals for students? Which 16mm sync camera model is best for the price (rental)? Last, where can I find a good place to get an affordable grip truck and portable generator (for an ext. night shot)? Thanks for reading! Natalie one more questions..completely optional: fuji or kodak?

I'm a film student and I'd like a few suggestions from experienced dps, gaffers, grips regarding equipment... First off, which rental house has the best deals for students? Which 16mm sync camera model is best for the price (rental)? Last, where can I find a good place to get an affordable grip truck and portable generator (for an ext. night shot)? Thanks for reading! Natalie one more questions..completely optional: fuji or kodak?

hey i heard on a film set I was on recently that for beginning filmmakers J L Fisher was loaning out dollys for a weekend for FREE. Is it true?? cuz I can really use one for a video I hope to make at the end of the year.

hey i've been looking into buying a prosumer dv camera for my projects. i've checked out the Panasonic DVX100A. If you know the camera well please tell me the pros and cons. it's more affordable than the xl2 but is it as good in terms of features and image quality? I hope to get a camera that's good for beginning filmmakers like myself. fresh in film school so still got plenty to learn. thanks!

Hello, I'm a film student and I would like to know which prosumer dv camera is best for the quality and price. I'd like to buy an XL2 but my budget is a little tight. Are there any good quality 3CCD dv camera with similar features that cost around $1,000. I'm willing to purchase a used camera but it must be in good condition. thanks for reading!