Chayse Irvin ASC, CSC

From what i've heard David O. Russell has a bad rep for being a rage monger. There was a story about George Clooney chokeing David O. Russell on the set of Three Kings. It doesn't suprise me that footage has gotten out if he treats the crew like that. My mother was and still is a Jazz singer, and she has collected recordings of singers, the best one being Ray Charles, treating his band like dogs. The members in the band would make these tapes and send the recordings to their friends from other bands, who in turn would send recordings of their own singers treating them like crap.

Awesome. Thanks Max.

Aye. I see there are many variables. For my practical reasons I'm really starting to use more and more often double diffusion through 6x6 and 12x12 frames I'm trying to figure out what kind of light I?m going to need when doubling up Muslin because I?ve always used Full Grid, and I?m looking for a rough estimate of how much thicker Muslin is. I often get different looks with different lights but I've found that fresnel lenses have slight diffusion before the lens scatters the beam, but when I'm doubling heavy diffusion it really doesn't matter what kind of light it is, but how much you can get out of it. Maxi Brutes are usually my choice for night exteriors, and 2 Mini 9's rigged on an offset, with one mini9 above and another below the rig allowing me to cover the whole diffusion frame in tight spaces, are my current choice of fixture. But I?m really wondering if that would work with muslin because I hardly use it, but want to start experimenting. I'm also interested in throwing Muslin over kinos and such when I can get a light really close to the actor.

Thanks for the insight guys. If I were to shoot 3perf Super 35 for 2.35:1 aspect ratio, 4k scan to 2k workflow and print, is there still an optical stage going to Anamorphic release?

I'm looking to estimate how large of unit and what the heaviest diffusion I can get away with would be. For my tests purposes I'm going to place several diffusions in the same situation and read which one takes off the most light at whatever distance. For example if you placed all different types of diffusion on the barn doors of a lamp and take a reading say... 8 feet away. 216 (-3 1/2 stops), light grid (-3 1/2 stops), full grid (-5 stops)? now my question is how much light would muslin takes off? I'm going to have to test it.

My favorite part of DPing is collaborating with the Director and pre visualizing the film along with the Production Designer. I'm working with this new Director named Randy Ross right now and I'm finding it a pure joy. We have extensive conversations about how a scene should be played out visually and how we can manipulate the audience. That?s the real joyful part of film making for me. I'm not yet experienced enough to walk onto a set and start to come up with ideas, or better yet "brilliant" ideas that serve the story. Its great to work with a director that likes prep as much as I do, and then we can execute to the best of our abilities. We have been prepping for 3 months straight.

I kinda got the same thing going. Heres my list so far. It was super cool getting to watch Emmanuel Lubezki's demo reel at jacob and kole the other day. It felt like a honor hehe. http://www.themackagency.net/ http://lspagency.net/dp.html http://www.pfd.co.uk/agents/anaylor.html http://www.radiantartists.com/ http://www.mirisch.com/ http://www.primeartists.net/ http://www.lenhoff.com/index.html http://www.kmreps.net/ http://www.thecharacters.com/ http://www.thegelleragency.com/ http://www.jacobandkole.com/ http://www.judymarks.com/ http://www.nyoffice.net/ http://www.schneiderentertainment.com/ http://www.seslercompany.com/ http://www.sradp.com/ http://www.dattnerdispoto.com/ http://www.tdnartists.com/ http://www.utaproduction.com/ http://www.alistartists.com/ http://www.allcrewagency.com/home/index.php5 http://www.seslercompany.com/ http://vertigoreps.com/roster_index.html

How many stops does Muslin take the light down? I went to look in my harry box and coulden't find it.

I was asked a few questions about shooting Anamorphic 35mm for DI and it's costs, which I don't know much about. Does anyone have insight to what it would cost to shoot Anamorphic 35mm over 4-perf Super 35? And is a Anamorphic DI more expencive then a 4-perf or 3-perf 35mm DI?

You better lock that girl down Matt. Before its to late!

Haha. Bringing home the bacon. I better find myself a woman real quick!

Damn. Thats how much I'm making now a days and times get hard. How did you manage to get by?

I digged it! I loved the silhouette shot at the lake.

Aye. It looks like David is looking for a David Mullen of 9 years ago. You know anyone like that David? hehe

9 people is reasonable. Camera: 1st AC 2nd AC Lighting: Gaffer (find a Gaffer that has a genny op ticket) Best Boy Lamp Op Grip: Key Grip Best Boy Grip Leadman/Dolly Grip Leaving a spot in the budget for a day call that can be spred out over the shoot, I would use the extra spot for a Rigging Gaffer to lay cable out and throw up a few lights before we land at the next location. He can also lamp op on days where there is no pre light. Lots of reasons to bring in a extra guy in on the big days.

Amen to that!

Movietube ST sounds like a great alternative to Varicam. Could it be motiflyed for a gyro if required?

Were shooting most the film handheld with Varicam + Pro35, but for this traveling stuff the varicam + Pro35 is even bigger then this other rig. But as far as cine lenses go I was thinking Angenieux OPTIMO 15 - 40 at T2.6. Varicam with a Zeiss DIGIZOOM 6-24MM T1.9 might give me what I need though, nice close focus so I can simulate some really shallow DOF stuff, it would probably be less cumbersome and easier to maneuver then the HVX w/ pro35, It would work better for my car mount stuff, and I could throw that gyro rig and some hand grips on there. Might cost a little more tho. Those Digizooms are expensive, and I'm not sure if Clairmont even has them. Thanks for the advice Michael. You?re a genius. Well see if production has the $$$.

Looks hott Matt. Keep up the good work!

Looking to do a shoot with the HVX + mini35. The shoot is handheld and I really hate the HVX's LCD position because to view it your moving the camera forward and it becomes really front heavy and uncomfortable. I want to rig it with this Gyro Rig for traveling footage. Any ideas on how to create a balanced comfortable camera with this rig? It needs to include a Mini35 w/ a small light wieght cine zoom, zoom control, wireless follow focus, and a monitor for the operator to use. Is it to much to ask for?

Has anyone worked with Kenyon Gyro Stabilizers? They seem pretty cool. I've got a shoot coming up where we are going to be doing some handheld driving shots (shooting out of a van), as well as heli stuff, and we hired this crew to do some wire camera shots in whistlers night half pipe. The wire rig has a guy rigged to the wire and hand holds the camera as he swings threw the air. I've seen some footage and its mostly fairly smooth, but the director and myself will want them to go on longer focal lengths then I think there used to, so I'm thinking a stabilizer will be useful for all of the above. For these shots were going to shoot HVX200. The traveling shots being, with a mini35. This company has a really cool handheld rig with the gyro: http://www.aerialimage.com/page5.htm . I think it might work well with a HVX w/ mini35. Thoughts anyone?

I've had it fail on me a few times in cold weather conditions. The pins in some of the wires are very fragile and when frozen or cold they can break. Check it out might be that?

Thanks Phil, Whats the effect actually called? What would it be called in a menu?

How do you adjust the shutter to do this David?

Sorry guys, I had to back out of the film to do another feature that I started last year. It was a tough call... but in a way I hope its not the last time that happens cus it will mean I'm working lots. <_<