Chayse Irvin ASC, CSC

Man... those are all the things i loved about the cinematography.

Thanks Claudio. Means a lot. I only hope my next project comes out looking like a Chilside or a Alpine. Thanks agian!

They could lay the same image over itself, apply a blur, a little color, and less contrast to the top image and add a feathered comp over the areas they want the effect. If they do it that way it would animate itself, they would just have to paint out the parts of the image where they dont want the effect... like an eyeball. rOOm probably uses flame or combustion. Not certain tho. Good question... gonna have to try it out when i get home. Getting rid of someones belly fat or double chin cant be easy to make look real.

Thanks Matt. I did do the graphics to explain to the director and producer what would give us the best final image. Whether they go with that is up to their budget. Since we don't have an editor yet I built the workflow to more to help them visualize how it would work. If our editor has a system like this with a capture card and everything, that would be great. Otherwise we would have to rent an online suite at the post house here in Van which would have its own RAID and everything. Unless I buy a system like that... which I might do because I love the idea of being able to capture uncompressed HDSDI 4:4:4 even if it?s an S16mm telecine transfer is awesome to me. It would ensure the highest quality workflow for my projects, which at this point is very important to me. I'm going and try and get a familiar crew to work with on this project. Its going to be very hard getting the people I want due to the fact that we are shooting during pilot season here in Vancouver and who ever comes aboard would be taking a massive hit to their pay checks working on this film. I have a big reshoot going on for another feature right before love money and I'm hoping to have the camera jump over to this one. I'm getting Dave McClung to Gaff the project, he's a very close friend from film school and I worked with him on smallville. Chad Skinner may serve as Key Grip; he is a childhood friend and has keyed all my projects. I'm planning on writing about everything I do on this project; I'm still learning a lot about the job and it helps when I can be scrutinized and advised on certain decisions. No onset still photographer yet, I'm not sure there will be one. If not I'll take some 35mm stills.

At least I thought this reel was funny. http://www.room.tv/posts/bill/beautyreel.mov ouch Probably cheaper then plastic surgery. So fresh and so clean!

Thanks man!

The good operators I've worked with and have seen threw out the big and small shows i've teched on have discussions with the actors all the time about staging, which i feel is different then performance. I mean an camera op has to be in the actors characters head to anticipate their moves. However if you always wanna communicate changes you've suggested to the DP and Director. When the schedule is tight and your behind, a lot of the time I find myself thinking about the next lighting set up rather then the action on the monitor and I love operators that catch the things the director and I miss.

Some times the DP needs to suggest things that aren't camera or lighting related... there is a fine line tho. But there will be a time when you have worked on so much crap that you know when it is time to put your foot down and that your there to make a good movie. I feel most director appreciate that passion. TV DP's that mentored me are masters of communicating with directors, due to the fact they have to work with a new one almost weekly. I tend to speak from the camera or a viewers point of view and suggest ideas from there. However I wouldn't suggest how an actor should play a scene... If I found the direction and acting questionable I would simply suggest something in a visual aspect to help advance the story or acting. Could be something as little as a camera move.

If that were the case and I was by the monitors. After a rehearsal when he calls cut, I would sigh really loudly and go "humm?". When he asks "whats wrong?" I would say "From the camera it doesn't look like hes eating. I think it may distract viewers.". If I were operating I would just let the actor know hes not selling his action to camera. I feel its part of the operators job to help with staging. Otherwise they are just meat puppets.

No editor yet. I just read this from a source who claimed to be sony: In 4:2:2 recording the compression ratio 2.7/1 In 4:4:4 recording the compression ratio is 4.2/1 I think rainmaker post here has the ability to do the workflow suggested above. Still have lots of research to do. I wont need the firewire back up drives since were going to tape tho.

Thanks Bryant. Its shot on Varicam with the Pro35 using CookeS4's for a feature called "Switch". We have a massive 13 day reshoot next month. Were hiring a 2nd unit Director to shoot all the stunts. He's a master at wire-cam rigs apparently. He's talking about rigging a operator on a wire across the huge half pipe at whistler. Heres some bike footy he's done. http://www.chayseirvin.com/video/switchstuntsroam.mov Pretty nuts eh. However were planing on shooting that on HVX and I'll hopefully be shooting the Phantom HD for that aswell. http://www.visiblesolutions.com/index.cfm?...e=camera_HD_new Still waiting on a quote.

Is that a typical HDCAM workflow? Does HDCAM SR 4:2:2 have a lesser compression ratio then D5-HD? I remember reading that D5-HD is around 4:1 and HDCAM SR 4:2:2 is 3.3:1 or something. Can anyone confirm this?

As an Op, what would you prefer? After seeing the seemingly extremely hard handheld camera moves in the movie specially during the finally action sequence where the camera op is mimicking Clive diving and dodging bullets. Is that something easily done on a 235? At some point during the sequence the camera gets pretty low shooting up towards Clive, almost as if the camera was being held and the operators hip. What are your thoughts?

Heh. Sounds like a record to me. Does anyone know a good HDCAM workflow?

Those commercials are awesome!

Anyone have any idea on what kind of handheld rig they used on Children of Men? Emmanuel Lubezki used a cool rig for the handheld stuff on The New World and I was wondering if he used the same method. Anyone have any idea what I'm talking about?

Meetings tomorrow and I'm going with two F900's. After some research and Davids argument for the F900 over the Varicam, it seam clear. Here is some of the research info i found. I just hope a 3:1:1 color correction doesn't add a lot of artifacts like I think it will, it's something i'll have to test during prep. Thanks again for the help guys.

Same. I dont remember learning this. But there is a learning curve that didnt hit me till I started shooting more and more. I doubt i would have remembered if it was even mentioned durring my school... I was really focusing on learning the terms. Thats whats so great about this forum... you can ask any question and get a great answer from so many great DP's.

What kind of lighting sets up did use use in the jungle stills?

Not totally sure because I wasn't there or even involved in the post. But my guess... hard side light for wide shots were artist or dancer is against the back drop. Close ups for DJ Paul, hard 3/4 to more of a side back light both sides, and a kino underneath or above camera for eye and teeth light, possibly diffused and ND'ed so it has low output and only reflective quality. Bow Wow looks a lot more soft lit with mb med diffusion 4x4 frames on the backlights and same keno eye-light. Dancing inserts have a hard top light. Inserts of xzibit among others look like 3/4 key light with 4x4 frame of heavy diffusion, hard back light, and keno under light w/ Heavy diffusion. Project Pat and Juicy J same light as bow wow w/ 2 soft side lights and keno under the camera fill and eye-light. Shot on 3 perf super 35mm transfered and timed on a Davinci and then to Digibeta. Probably timed that way on the original transfer due to the little coverage in the video. But still could be a tape to tape color correction. A lot of the look is created in color correction. I'm sure you wouldn't be impressed by the low contrast neg and it was probably lit farely flat for performer except DJ Paul. I mean Bow Wow's contrast in the face is fairly low con but snaps around the eyes and the hat.

Are you talking in terms of just the back drop or the whole video?

I have Final Touch and it is a very good professional piece of software. http://www.siliconcolor.com/ However I don't like it as much as a Da vinci 2k or Pablo system as a pro thing and I found it is very complex to use and some what expensive. I've used shake in the past and I feel its probably the most powerful in the way it can be used for compositing corrections, and the fact that it is node and perimeter based software, which is a down fall in the way its complex and hard to learn. I came across this Colorista (http://prolost.blogspot.com/2006/12/why-colorista.html) software plugin for FCP which maintains the color depth and bit of the image when you apply the filter. I've noticed in FCP, once you add any type of FCP filter over your image it degrades it. This is supposed to maintain the original quality but gives you the simple to use 3-way color corrector which i really like. I haven't tried it yet. But now that I think about it I may just buy it test it out.

If he did want a low contrast print would it be as simple as adjusting the printer lights to as 20-20-20?

Just got back from the premiere in vancouver... aside from two people right in front of me talking and getting drunk the whole movie... I thought it was one of the best movies i've ever seen. Every scene had me on the edge of my seat and the one shot scenes were amazing. Lighting was remarkable... or lack there of. The way they staged the camera and actors to play into natural lighting was awesome.

PHANTOM HD -- http://www.visiblesolutions.com/index.cfm?...e=camera_HD_new I'm interested in shooting this camera for some snowboard stunt footage up in whistlers halfpipe. Has anyone used this camera before. Looks pretty awesome to me.