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Chayse Irvin

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About Chayse Irvin

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  • Occupation
    Cinematographer
  • Location
    Los Angeles, CA

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  • Website URL
    http://www.chayseirvin.com

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  1. David Fincher and Emmanuel Lubezki on RED. Maybe MX?
  2. The idea of a 65mm neg scanned at 8k and projected 4k makes me droll.
  3. Whoa. What an awesome film Eric. You shot my two favorite films this year. Loved the look of both. Congrads. What type of set ups did you do for interior plane scenes?
  4. Most DP's in Vancouver are repped through LA agents because most the projects shot in Vancouver are LA based production companies or studios. Camera assistants don't have reps. Here are some based Toronto/Vancouver Agencies: http://www.thecharacters.com/ http://vertigoreps.com/
  5. Shooting it right now and it looks awesome! Heres my workflow. RED ANAMORPHIC Records: 2816x2304 De-Squezed: 5632x2304 (2:1 Aspect Ratio) 2.40:1 Crop: 5414x2304 2.40 in 2k: 2707x1151 For Dailies: REDRushes - Scale 1280x640 - Change "Fit/Stretch" to "Fit Width x2" For final output I can color time 2816x2304 in Color. Then take into Shake and De-squeze, crop, and rescale if wanted.
  6. Lol! Soon. I just heard they are doing sound mix... shot over 60 days on it over the span of 2 years, 2-3 years ago. whoa.
  7. Hey Allan, 669 periodically closes its trainee program. Every few years (or when its really busy in town) they invite about 15 trainees and after the program the union places them on a show rotation. That way you can get introduced to different camera crews and gain lots of different camera experience. But because the system is so involved and the Vancouver industry can only support/give work to so many people they make it so that they only open it up when there is work available for those trainees on union shows after the initial training. A lot of people that join the trainee program have experience on non-union shows as a 2nd AC. I applied once after film school and was rejected... But a few of my class mates got in and are working as DIT's, 2nd AC's, and 1st AC's on union shows.
  8. Thanks guys. Really appreciate it. I have a new link to vimeo: http://www.vimeo.com/6134256
  9. I just upload a QT to my ftp. My website provider is canaca.com Chayse
  10. Hey Francisco! Thanks! If your meaning having it open into QT then streaming after clicking on one of the icons... I stoled that coding off of Apple trailers then changed to that design. :ph34r:
  11. I agree. I've been moved by the honest and raw images in "Eternal Sunshine of the Spotless Mind". Where in the film "Sin Nombre" I felt like nothing but an observer, watching pretty images pass by with no connectivity to me. However my girl friend who was sitting with me did connect. After watching it the first time I rewatched it numerous times to find a reason that soul was seen by someone else and not me. At first I thought it was something technical... the cinematography seemed to perfect. But I felt that was my ego talking, not my heart. Its something subjective that allows that. The images were something reminiscent to my girl friend as well as surreal, like a dream she may have had. But thats something unique to her and I don't think its a formula that can be exercised; Perhaps as your own vision to your own soul it can. But that will only touch those who are in tune with it.
  12. I agree. Cinematography is about storytelling. I would say a demo reel is a story about a cinematographer. Are you meaning my stuff looks like someone else, or each image lacks meaning? What feeling are you looking for in the image? What's missing? The images lack honesty in the technique there for lack in feeling? All the things you've stated about soul is where I come from when shooting a project. Whether I focus my mind on carefully designing the cinematography or going into a production with just an idea in my head and just my own heart/emotion to understand a performance or setting is dependent on who I'm collaborating with. I try to never use my own pertinacious resolve of how I think a story should look because unless its my story. Which it isn't and the closest I'll get to understanding that is through the director. I can tell you all the images in the reel are my interpretation of words and feelings the director described to me and they are a direct manifestation of that collaboration. To get the looks described I use the technical tools my obsession (cinema) understands. The reel itself is just me editing parts of the footage from those stories into a montage. If there were a question asked on why I made a image look that way I would answer with a honest reason both artistically and technically. My understanding of your post causes an contradiction in my mind. Your saying I have things in there that pretty in the technical sense, but lack in feeling or heart... but thats exactly where I come from when shooting. So perhaps there is something lacking in my artistic sensibilities or I have to find a new path to express. I think if anything, as far as tools go, I mostly express myself not how the camera moves, color grading, compression, or use slow motion... but how I expose it... the ladder being more so an expression of that collaboration. After seeing my reel... how would you describe the images in my demo reel and why? Chayse
  13. Small update on vimeo! http://www.vimeo.com/6552526
  14. haha. Panavision run's just like Walmart.
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