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About Rob_Kraetsch

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  1. Congratulations guys! I haven't checked the boards in a while, and it's nice to see good news all around. Feel free to drop me a line if you have any more questions, or want to talk smack about Jayson. In regards to Richard's questions from a long time ago. I'm just finishing my 1st year so it's way too soon to say whether it'll be a good financial investment. Having struggled for a trickle of work before attending AFI, I feel like it will be in the long run. I've learned a tremendous amount this year about all aspects of the art, craft and business. I also feel like the contacts I'm making will be very good in the long run, and hopefully some in the short run, but I'm certainly still expecting some lean years to come after graduation. It is an expensive roll of the dice, and I had to think long and hard about it, but feel at this point that I've made a good decision. Ask me again in a few years and we'll see if I still feel the same. :) -Rob Kraetsch
  2. Hi! There are several AFI students and alumni kicking around the boards here. In answer to some of your questions: It is a difficult program to get in to. They don't seem to like publishing numbers, but Entertainment Weekly has some from 2000 (~1,200 applicants for ~125 total slots in the school. 28 are cinematography). Most applicants are for the directing discipline, but cinematography is also very popular. I believe the interview is the last step. After that they either accept or reject you. They should have a published date in the application for when they inform you of their final decision. Getting an interview is definitely a good thing. I don't think they accept anyone without one. I'm sure you can contact the admissions office with any concerns and they'll help you out. It is insanely expensive to attend. There is a fairly large tuition hike starting next year (I think the numbers Richard Boddington posted are correct for 2005-6). Hope that helps and good luck! Rob Kraetsch AFI Cinematography Fellow
  3. I'm upset I had to leave early for another class and was unable to stay for the whole session, but I too would like to thank Mr. Mullen for sharing his valuable time and experience with us. Despite having seen David before I was still shocked that he was not twelve feet tall! Thanks again! -Rob Kraetsch
  4. Rob_Kraetsch

    24p vs 25p

    I'll third the PAL suggestion for the reasons that it'll be happier with local HMI and fluorescent light sources that run on 50hz power. -Rob Kraetsch
  5. I've long felt tension can be stapled to any visual element you want. It somewhat relies on a contrast of aesthetic from the points that lack tension. A flat static image can be made to send chills down your spine if set up appropriately (Difficult, but possible). If you use a certain color, texture or even contrast ratio in tense moments before the scene in question, those things can be used as well. Sorry if that's not the most practical advice. Good luck with the scene! -Rob Kraetsch
  6. Good sir, I thank you. Now if only I can get the finished script from the writer/director I may actually be able to finish this budget.... -Rob Kraetsch
  7. FWIW, I believe Canon will be announcing a new camera next week (July 13th). Could just be speculation, though. <_< -Rob Kraetsch
  8. Hello fine folks! I'm trying to budget for a short film, and we're not sure whether or not we will be conforming the negative/striking prints (Depends on further post funding/Festival selection etc). Traditionally, I've requested both a clean and a key-burned copy when doing the telecine, but I'm wondering if that's necessary/wise. I started that practice in college, and just never really questioned it. Is it possible to just get the keycode info in metadata, or on disk? If so, how does this play when converting tape formats (DigiBeta, HDCam or D5HD to DV/DVCam)? How would this play with various editing systems? We'll most likely be going to DigiBeta on a Rank/Pogle or Da Vinci set-up, and kicking down to DVCam or (Gulp) MiniDV for editing on FCP 4.0. Shooting Super16 unless I can somehow fenagle a 2-perf 35mm. I'd be interested in hearing what nightmares I can expect in going that route as well. I'm thinking we'd probablly just go to HD in that case, and scan it out. :unsure: Thanks in advance! -Rob Kraetsch
  9. AFI no longer gives most of it's students the boot. Now you actually have to fail to not be asked back for second year. The rumor I heard is that they were threatened with loss of accredidation if they continued such practices (Kicking out 2/3rds of their students for no particularly good reason at some points). -Rob Kraetsch <---- Hoping not to fail
  10. Hi! Sorry if I'm late to this thread. I too am starting at AFI this fall. I currently live in Hollywood about 1.5-2 miles west of campus which is a steadily improving area by the Chinese/Kodak theaters. When I first moved here I lived in Glendale and very much enjoyed it around there as well (Good bang for the buck). Both places I found through Westside Rentals. A lot of people have had luck just driving around neighborhoods looking for "For Rent" signs as well. Miguel, your reel looks amazing. I'm stoked to say the least. The quality of work I've seen from a few of the incoming students has been exceptional, and the people I've met have been most friendly and eager to collaborate. Best of luck, and I look forward to meeting you all! -Rob Kraetsch
  11. Shooting IR film is fairly complicated. I researched it for a project a while back, but decided against it. There's a lot of good info at cinematography.net and at Clairmont's website. I'm not sure about MiniDV and IR. Are you going for the FLIR look? I am unaware of any video cameras that achieve the same thing that IR film does, but an exceptional colorist/post person could maybe mimic it (I plead ignorance). For lighting, and I don't recall where I heard this (I don't see it on quick review of those links), but I belive most tungsten sources emit quite a bit from the IR spectrum, particularly when dimmed down a bit on a squeezer. Good luck!
  12. Geoff Boyle briefly discusses using some BG mattes and at least one FG glass matte in this commercial (Nothing too technically specific, though). I'm not sure how easy good matte artists are to come by these days. Good luck! -Rob Kraetsch
  13. As far as lighting goes, if you keep it sidey or more backlit with a bit of atmosphere you can suck quite a bit of color out. Of course, this can effect the emotional impact of your lighting scheme, so you really have to ask yourself if it's right for what you're doing. Our own (Not that we can really claim him) M. David Mullen ASC shot a beautiful desaturated film called Northfork which you can read about in the May '03 American Cinematographer or in this article. Some of the techniques he used with the lighting, atmosphere and diffusion filters are one's you could use as well. Best of luck with the shoot! -Rob Kraetsch
  14. Grainier than the beach! How fast of a stock was that? I once pushed a roll of 7289 and don't remember it being nearly that grainy. It's still kind of an interesting look, though. What's she lit with? -Rob Kraetsch
  15. http://www.filmfestival.gr/2003/uk/doyle1.html Doyle has long been one of my favorite cinematographers. I think a lot of the reasons why are summed up in the above link. Good luck with the film! -Rob Kraetsch
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