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Chayse Irvin

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Everything posted by Chayse Irvin

  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.
  15. The appearance of saturation and desaturation can be equated to the two different lighting styles in this case. In fact I would equate most of the things you've asked too two different lighting styles.
  16. Looks hot man! What were the ideas around going black and white?
  17. Agreed, I understand the technical aspects of DOF, FOV, and format. But I guess in my mind those distinctions have become just technicalities. As a cinematographer tho, when shooting anything, a primary concern is that it is sharp... and no matter what format your shooting, dealing with shallow depth it is a challenge... and I would contest that the practicality of shooting 65mm would be a bigger challenge technically, artistically, and politically then 35mm, specially when dealing with strictly available light... and the fact that a lens is slower at a T2.8 it would become even more of a challenge lighting wise. I think it would take one of the best DP's and best crews in the world to pull it off... which I think Chivo is. But by no means do i think its easy for him and I respect him for that. I had the pleasure of working with 1st AD Bobby Bastarache who did Tree of Life. He was the best 1st ive ever worked with and a very nice guy. In a discussion i told him that Terrence Malick was my favorite filmmaker and Chivo was my favorite cinematographer. I ask him what it was like working with them, he cringed and said "it was a challenge... if I did it again I would ask for more money ;-)" Making films that way is extremely hard and deserves a lot of respect. When you attempt to make a film like that your always teetering on the pretentious and brilliantly artistic. I love it, takes big cahonese and skill to try it in any format.
  18. Umm. ok... The answer is yes, 65mm at T2.8 is shallower then 35mm at T1.3. 35mm at T1.3 with a 32mm with a actor around 4-7ft away; are shallow focus issues quite minimal with improvising actors?
  19. Is 65mm at T2.8 still shallower then 35mm at T1.3? Do you think shooting 35mm at T1.3 with the actors improvising will have minimal focus issues?
  20. Probably because in low light situations you have to shoot at a stop that is so shallow in DOF its hard to improvise anything and keep it in focus.
  21. Fantastic! Can't wait to see it! Chayse
  22. Glyph drives are great but expensive. G-Raid's are great as well. Both have FW800 and eSata. I personally own two OWC drives and went to buy another not to long ago and the store I got them from stopped selling them because of their crappiness. I back up everything now. I've also worked with custom built eSata drives as well. However we had some problems mounting the drives every once and a while... but they all worked.
  23. Love it Jayson. Stills look awesome. Great detailed journal!
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