Chayse Irvin ASC, CSC

Awesome. Can't wait to see the film when its out. Thanks!

David, when your doing an Anamorphic DI, how does work in regards to the scan? Do they scan the film with an anamorphic projector type optic infront of your neg to the 4k scanner and if so on the film out are you going to be gaining any of the benfical anamorphic picture quality once you get scanned or is that information lost?

It was probably Sony.

Hear are some handy tools: Incedent meter, Spot meter, Viewfinder, 18% Gray Card, Gray Scale, Color Chart, Contrast finder, and lots of books.

I found that if I went to t2.8 with any lens I would get grain from the ground glass. What are you shooting?

You should find out how much not going 3perf is going to end up costing you... because on my last film it translated into lots! We ended up having to shoot S16mm with a SR3.

I did a Varicam Feature this year with the Pro35. Its a good camera... but in hindsight I wish I had gone with the Viper and shot less cameras. Viper I feel is a superior camera. None the less if you can't afford a viper, Varicam is great camera and slow motion is its greatest feature. The one thing that I don't like its cine gamma which of course you can turn off. I just don't like that clipping hard edge look. But Panasonic markets it in a way that it was made for film outs. You can manipulated gamma curves in post and next time i will opt to use that route. The Varicam due to its resolution is not great for anamorphic prints... so 2:35. I believe you end up with the vertical resolution at 540 lines projected back on a wide screen. Something like that. Not sure on the exact number. But you will really notice it on the big screen. It would probably look like crap, never got the chance to run test tho... I wouldn't recommend shooting Pro35 if your looking for a high contrast image either.

*Drool*

Ugg. I hate it when that happens. That happened to me on a feature I did this year. The producer brought a director friend of his on set to hang out for a week and he kept telling the director things wouldn't cut if the angles weren't matching and blah blah blah. After a few days I finally lost it and told the guy (and unfortunately everyone on set) I didn't care about matching angles and lenses and ec. The next day buddy was sent home. I felt bad about it after but I was reflecting about it with the director not to long ago and he had felt the same way I did... He felt my outburst free him from the guy and that his influence was hurting his film, but didn't have the nerve to say it because the other guy was more experienced them him. I say when it comes to these things just keep it real. If you think its getting so bad that its hurting the film and your work... put a end to it as soon as possible.

Does the background window not create a reflective highlight down the hallway alone without the par?

Get well John.

I believe Aaton 35-III is the cheapest. But make sure they have it 3 perf because not everyone will and they do get loud... Clairmont Vancouver's one isn't even listed as a sync camera because its so noisy.

Agreed. Maybe why a lot of the people who have been doing it for a while don't have that arrogant attitude, granted its not always the new guys with bad attitudes.

I find every set different. This week I lamp oped on Smallville second unit which has a really bad rep for how it treats its lamp ops, I had worked with Gaffer Bruce Borland on a Bollywood feature and went to film school with his best boy and found the show an absolute pleasure to work on and all other day call lamp ops were treated great, even when it was crunch time. But I can see how a show like that can get a bit nasty at times. Smallville is high pressure for its crew and uses complicated lighting for everything including inserts. Things get nasty when people don't do there jobs... and here where things are seniority based and a Gaffer cant chose his crew I believe you should keep your mouth shut and work your ass off till you have proven yourself or your mouth will create tension on set. There is always some green lamp op that comes on set with this attitude and ego because hes making $25 a hour, and people are always weary of these guys when they 1st come on. This is why Smallville has a bad rep, because Bruce isn't afraid to call people on there jobs or lack there of. My situation is different because I had shadowed under DP Glen Winter a few years ago and was friends with the dept. heads, so I had friends and enjoyed myself and the people around me... a feeling I know the new faces would not share if they had a chit chat attitude. Usually everyone is cool... its just sometimes takes a few days to make an impression... I know its lame but just remember your being judged not because of who you are but because of pass experiences.

Sounds right... Are you shooting 23.98P? Cus most all sound post is done using offline edits using 29.98 NTSC down conversions.

Im almost tempted to say its a lot brighter if open face. The heat is not bad, someone with gloves could operate the lamp off the yoke. If I use it with the leko caseing soon I'll let you know how it looks.

Heh. I remember hearing that same thing 5 years ago. Needless to say he was wrong.

The thing i like most about the Joker bug is the DC operation. Great for when your running around. Its light enought to mount onto a car with a suction. I've used it in driveing night ext with the soft tube mounted on top of a car coming over the front window key lighting actors. Gives a nice soft keno bulb feel but a lot brighter. You can also use it as a back light in the same situations. With the bug-a-beam adapter it mounts in a leko caseing which i want to try on my next shoot... Im exicted to see how hard of a beam i can get with a Joker 800 mounted in one with a 19º barrel. They are super expencive and hard to get out here in vancouver. Almost every show in town has a few of them on the truck which sucks because its so hard to get them now.

They were part of a feature i did called "switch".

Ya. I really cant find one that beats it. Sooo much detail... so many hours of footage. I mean isn't it like 8 hours per dvd?

Nice. Footage looked great. I'm unfortunatly shooting with Zeiss super speeds and not the cooke S4's like I intended but should be fine. Our stock is the fuji Eterna 500 8673. Tests are tomorrow. Look forward to what it comes up with.

Good call. Defiantly testing before shooting. Cool I'll read that article, but what about movies made on S16 that did a bleach bypass? Any?

Any movies done a bleach bypass on S16mm? Has anyone here done it that way and have some advice?

Thanks man. The Snowboard footage was Varicam w/ Pro35 + CookeS4's. The breaking was 35mm shot with a Arri 35-III + ziess super speeds... unfortunately it was a weak miniDV transfer so the picture quality is weaker then what I would have liked it to be. Site should be done soon, just trying to come up with some content. I've got a shoot at the end of the week that should be great. I'm going to defiantly throw some of that footy on here.

What kind of software and filter did you use to get the flare?