Matt Workman

After some more research I've listed: Company 3 DuArt Nice Shoes PostWorks As companies in NYC with Thompson Spririt Datacine.

Hey, I'm researching prices for some clients. They probably only can afford a s16mm to SD Digibeta transfer but I'm really interested in working with some HD scans. What labs in NYC, or the US have people had experience with? What are the general transfer rates per/ft or per/hour? These would be unsupervised. Josh Reis has posted some nice results from a s16mm to HD. I'm interested in being able to quote a price to a client who could afford it. Thanks. Matt

Hey, We finished shooting last weekend. Its been a long project, a whole summer, but I'm happy with everything I've learned. The director is editing the film 24/7, trying to make the rough cut deadlines for certain festivals. The last few days were very full, most 12 hour days. Which for a small crew means that we all have to carry schlep a lot of equipment. But we have shot every scene and ended on schedule, I'm impressed. One of the bars was Lionheart. If you are familiar with the Albany area we basically shot in every bar there is. Red Square, Noche, and several others. I cut a short cine-reel from the available footage. I've gotten mixed reviews about the music but hopefully it isn't too distracting. I'm missing some key scenes that we thought would be best left out, so not to give away anything. Butch Jaime - Cinematographer Cut http://www.mattworkman.com/dp-v2/work-butchjamie.html Brian V. has also been nice enough to post this in the Redrock Micro "Samples" page. Along with some of Haakon and Vincent Pascoe's amazing work. Redrock Micro - Samples Page http://www.redrockmicro.com/samples.html Thats it for now. Soon the film will have a website and probably be in festival by 2007. Thanks for reading, Matt PS: By the end of the shoot both of my HMI's were working perfectly and we discovered that the dolly shots were actually very smooth, only the monitor itself shakes.

Wow. How much is a 2K scan for a 1000' roll? Did they come as Cineon files or something like a .tiff? Is that last one a DI - Day for Night? Heh I guess it was more of the production design, white walls, sheets, etc. Kind of like The Island.

Hi, I'm shooting a club scene and we have an okay budget for lights. I'm wondering if there are any music video DP's who can lend some tips on lighting a trendy club look. I'm thinking of gelling some Kinos (green/blue) for the background and having red/white light for the foreground. I haven't done a lot with effects gels, mainly color correction gels. What are some good effects gels to experiment with. I would love to rent a rotating laser light for the background but I'm going to keep it simple. Thanks for any tips. Matt

If you are in NYC Curious Pictures is a great company to learn from. I interned there a year or two ago and they are very savy. They have 2 motion controlled camera dolly/cranes, a soundstage, a new motion capture studio, and a VFX army. I would be interested in any resources as well, but my advice is to work at a studio and ask the technicians.

I agree with getting a DVX. Perhaps you can find someone in your area who has one. Try dvxuser.com There are plenty of people who would help you out. Depending where you are. Gl2's aren't horrible, but I don't think they have 24p. Good luck.

The M2 is great for what it is. With that being said a $1200 box with $200 lenses isn't the ideal system, but it definitely offers advantages over straight Z1U footage. I used to insist on using the M2, but it is a lot more work. There are always sharpness issues and if you don't have and AC its quite a distraction when you should be lighting. Its good to practice with: having consistant field of view, depth of field, and extra weight for steadicam but I have been leaning towards shooting without it lately. If the production can't afford lighting/grip/crew then the M2/mini35 isn't going to help much. If you can get a P+S Technic with a Zeiss set, its a more stable system. But I am starting to really dislike DV/HD with any adapter. If you absolutely need the DOF at the sacrifice of sharpness, then its a great tool. But I would consider shooting without it depending on the production. Opinion of an M2 owner.

Whats wrong with the look of X-Men 3? :unsure: Please ellaborate. I guess I'm a minority in enjoying that movie. Going back to the original post: I agree that a 35mm project will be taken more seriously by almost everyone involved, because it suggests that you didn't just go buy a HVX and shoot without lights, finished script, or talent. Harsh :/ Also shooting 35mm means hopefully that you have an experienced DP who hires a reliable crew. Even if only keys. Many HD shoots cut corners with crew, maybe that just low budget producing :unsure: I am working with a director who has a fixed budget, sub-$200k and we agree that if he can budget a 35mm it will attract better people, because working at that budget people aren't going to get their regular rates. If we shot HD for the same budget I doubt I could convice a gaffer to do me a favor and work for reduced rates. DVXuser.com is a great forum. There are many experienced people there, and taking comments from the newer people is mis-representing the community. Its also very active and welcoming. :ph34r:

This looks awefully similar to Similo. Are you remaking a sup35 version?

Nice mang. What was the snowboard footage shot with? It looks really great. Is that part of a DVD? I like the music video footage and the breakdancing stuff is really great. Is that varicam of film? Finish your site so I can bookmark it, heh. :ph34r:

DVX100b and M2 are compatible. I've used the two before. You can either go with the SD Achromat or the new one. There is no shimming or modding needed to fit the two together either. HVX, JVC, etc. need adjustments to fit. Hope that helps.

Sex and the City Hustle and Flow The Constant Gardener was shot 16 and 35mm, as Mr Mullen said. In my research for Africa and Kenya shoots I found the article on the CG in the 2005 OCT of American Cine. It was shot in Kenya with some Arri 35, and Aaton minima and XTRs. Though having a DI is helpful. I definitely won't have anything like that. I keep hearing that 16 is lighter and faster than HD, no 28" monitor or cables. Varicams with Pro-35 is a beast compared to a minima or even a SR-3.

I read this today on the Arri website. Can you describe how you shot the campfire scene? What stop did you shoot at? The only light source came from the fire itself. I wanted the light to fall off the further away you were from the fire, I shot the scene at T2.8. The fire itself was reading about 22 reflective. The stock was Kodak 7218, which allows to the highlights to be five stops over without losing too much detail...It?s pretty amazing. http://www.arri.com/news/newsletter/articles/0606/sr3.html

I operated/AC on a HVX commercial. And I handled the downloading of the P2 cards. The best thing about the HVX is hands down the variable frame rates. We shot 1/3 of the commercial at 72fps and you can play it back instantly. Can't do that with the varicam or film. Well the varicam if you have a computer army with you. The HVX has a 422 color space but I still don't like the way it renders greens. All the HVX footage I have seen has something weird in that area. Panasonic made the focus increments in feet/meters instead of their arbitray 00-99. The P2 workflow is great, but I don't really trust it just yet. Computers crash. And electronics can be erased / destroyed very easily. Have fun with the new P2s!

Hi, On the few film shoots I've been on I've borrowed my friends Sekonic Cine-Light meter. It worked fine, but I'm not in NYC anymore and I am going to buy my own light meter. What meters do you guys have? What would you recommend? I don't mind spending a good amount of money for a good one. I figure I will have this meter for a long time. Thanks. (I did a search for threads with light meters but nothing that recently really helped. One thread about the 558 and the 558-cine)

David That straightened some things out for me. I suppose with the "stops" question I was referring to how many until white blows out and blacks lose all detail. I haven't been using a light meter for most of my shoots because they have been digital. I just use the monitor to measure the levels. I have shot with the new Kodak 200T and I have a pretty good feel for that stock, but I haven't been shooting that critical of material yet. With the grey card, the shoots I've been on they didn't use them but an AC I worked with had a whole set of cards and color charts in his kit. I was just wondering. Tshaka: I understand where you might be coming from with your comment, but you don't know the size of the production, who is involved, or when its happening. I am confident that with some testing and the right crew I would be just fine. Thank you for you info in the Kenya thread though, I have that book, I wouldn't have thought to look there.

Check visual products. www.visualproducts.com I bought a 1200 and 575 w/ electronic ballasts and stands for a good price. Also on ebay there are some 575w HMI with magnetic ballasts, but they have their obvious fallbacks. Why can't you rent? They are like $150 a day.

Its a small feature, just in a big place. We can't afford to bring a gaffer, we are hiring local and working with a production company. I plan on being up to date way before we shoot, I'm just looking for any information you guys can provide.

Tshaka, I am not signed on to this project, just yet. But we will see. I have a s16 short coming up too and I'm hoping to shoot more s16 in the next few months. I'm hoping with a good AC I can worry about the frame, movement, and lighting. I have only shot with an Aaton and it was with a small crew, so I did a lot of the AC work.

I have only shot a short on film so far (s16) but I am possibly shooting a much larger project. I mainly have been shooting DV and HD. I am familiar with metering film, some film stocks, and most of the mechanics shooting. But because the film shoots I have been on have been rather basic I am still unclear about some practices. Do you shoot a grey card or color chart at the head of every new scene? This is mainly for the lab to color time correctly right? What is the standard practive for filming with two film camera's. Do you have a slate for each camera? In general how many stops overexposed/underexposed can film handle? I am going to shoot some tests soon but I was hoping to get some opinions here. Thanks.

Okay I know the difference obviously but I'm wondering does the line ever get blurry? - For a super16 shoot would the DP ever be required to load? - Who physically rolls and cuts the camera, typically? (DP is operator) - Should the DP check up on the camera log and make sure the film is getting labeled correctly and sent out to the lab? Or is this only the first's job. - Who should change the shutter, frames per second, etc. - If the AC doesn't know how to fix a problem on the camera, does the DP ever have to try to fix it? I realize for each gig it is different, but in general on a FILM shoot how much should the DP deal with the camera?

Hi, I am doing some research into shooting a feature in Kenya. The director and producer are taking care of most of the production research but I want to know more from a DP's view. I have read about the country's history and recently about the flim commision. http://www.artmatters.info/comm.htm Has anyone shot in Kenya, or Africa? I have found several production companies and we are likely to work with one of them, not my call. Notably Pontact Production who produced "No Where in Africa." http://www.locationkenya.com/ Is the power/voltage 120v or 220v? I hear there are some crews, locations offices, etc. Has anyone worked with a particular one? Thanks, hopefully someone has some experience in this area. Matt

I own a sub-10k camera package and I am glad I bought it. I have shot a feature, music videos, shorts, docs with it. I would not have been able to work without it. I was looking into a 15k super16 package for a long time, but I have decided against it becuause of the stress of working with "your" equipment. Letting an AC handle my camera is always nerve racking and I shouldn't be distracted with that kind of stuff. I agree that if you have a forseeable amount of work with the camera it makes sense. Otherwise save your nerves and rent. Also I when shooting in other states/countries its a pain to lug it around, or feel stupid for renting the same camera in another location. My 2 cents.

Graham Cracker. Lol I saw Mullen's post about your name, it makes me lauph. Anyway, this is the cine-dolly from dvxuser.com I really don't like the dolly. Compared to a fischer 11 or even a Matthew Doorway its just bad. Though its comparing $10,000 and $100. But there wasn't a budget for a real dolly or track. I'd rather have this then no dolly, but for the frustration involved with "leveling" a pvc track and trying to get usable movement out of an oversized skateboard..well its not fun. They are quick to assemble and even with the camera on the dolly we can move the whole track and adjust the angle. Try that with a Pany on steel track. I think skateboard dollys are okay in some situations, but PVC track is just always a hassle.