Stuart McCammon

Which is why you only see photographs posted with a few of the stories on newspaper web sites, because they have to pay a seperate fee to the photographer for any use other than printing it with the original story.

I am going to take over for Santo and insist that we transfer all pictures to cave walls, because that's how the Neanderthals did it and 250,000 years of history can't be wrong!

Title says it all, looking for a jib for 3 days the week of Sep. 18-22 in L.A. - already have the shoot staffed, no jib op needed, need to get a DVX-100A 12' off the ground with remote control of camera - found one but seeking a backup source - shoot me an email at stuart@pkmarketing, thanks)

You could replace the band with computer animations of themselves)

Hi folks, I am a producer, primarily of small corporate videos, events, etc., and am looking to expand my network of people that I work with. I tend to shoot with a minimal crew, nonunion, SD video on MiniDV and would love to hear from any experienced people who are located in Orange County, California. Recent needs have included: DP/cameraman Jib arm Sound/boom op Production assistant Editor If interested, please send an email to stuart@pkmarketing including your rates, what equipment you can provide and any additional charges, travel, etc. and your contact information. A resume and/or reel would also be helpful, and please be patient if I don't call you back right away, because I am super busy right now) Regards, Stu

If Santo posted now he would have to use his real name, which means all the people he ever pissed off would be able to track him down and do a Santo on him :D

This thread needs a political enema ;)

Great guide Bryan! The only things I would add are the specs and rates for sound when there is no audio person, I.E. camera mic vs. lavolier(s) vs. plug into existing sound board (for an event) and the grip/lighting package when that is supplied by the camera operator (usually adds $350-500). I find that checking the camera operator's sound equipment and opinions about sound allows me to set client expectations and save mucho grief come shoot time.

Flying Spaghetti Monster has Xenu owned any day of the week) http://www.venganza.org/

David, Captain Video called me and said that he would never work for you, and that as soon as his evil plan for world domination is complete, you will rue the day you mocked him. . . On the other hand, if you apologize right now, all you will have to do the new world order is to iron his cape) MUAH-HA-HA-HA-HA-HA-HA-HA!

Translation: put your budget in your shorts and you will get to hang around with models. . . Uh, I think I need a how-to video on that one)

I appreciated reading about his book and enjoyed the website - if only it loaded a tad faster)

Grizzly Man was supposedly shot with a GL2, but I can't find anything definitive on it)

Chariots of Fire Oh, and Mel Gibson just succeeded in proving that he is thoroughly human. He never pretended to be Jesus, he just produced a movie about him - how many other public figures have had the maturity to apologize for an incident like that the next day? Remember the whole Hymietown thing? It took Jesse Jackson a whole month to apologize for that one after denying it at first)

I'm really glad you explained that - when I saw the five "C's" I was thinking: coffee craft service table catering "Cut!" camera not necessarily in that order)

I love Panavision because they played along when I sent a green P.A. to the valley for a bag of f-stops, and they sent back an envelope marked "Camera Deparment! Urgent!" that was full of Panavision keychains and other doodads - hard to find that kind of customer service anywhere. . . Oh yah, and they are American, so they have that going for them)

Musco lights for teh pwn)

That article was too funny - all his parents need to do is spend another $1.5 million and we can hear about the other 20 films he has brewing in his head - watch out Hollywood!

This mirrors AOL's sad decline, and is a testament to the tyranny of Wall Street and shareholder equity. All the lawyers can think to do is slash, and in the process they eliminate all the creative people who might stand a chance of marketing their way out of a tough situation. Eisner had his faults, but Disney was golden with Eisner, Katzenberg and Frank Wells. Those boys may have been cheap as hell and tough to work with, but they sure knew how to market)

Wait a minute, you mean those weren't studio gear? lol)

Was looking for a reference on this topic and found this awesome site - even has pictures! http://www.matthewsgrip.com/mse.php?show=g...cc883029f1c21b2

I forgot my favorite term of all time, "Bull Prick" - which is a gigantic stake used for securing things to the ground outdoors, and is about as big as a bull prick)

Always remember your sense of humor, as it comes in really handy when the key grip is standing over the wrap beer and shouts, "What, no Erlanger!?!"

It never occured to me before that the film community is as myopic and self-referential as many other large industries, but here we have living proof. Of course, if you believe that the only way to do it is the way it has always been done, you will be convinced that any other way of doing things is inferior. Given the unique constraints of film production, I happen to believe that there are many insights to be gleaned from successes in other areas, such as in this case. To say that image processing is only for extreme effects and that it produces results that will be unmatchable with other shots denies the experience and visceral results of many photographers, and promotes the status quo. Matching something beautiful to something average will always produce strange results, but what if both shots were beautiful? Anyway, this discussion may not have much practical value, but it sure is fun to consider what might be acheivable by a DP that takes the lab and the final look of the negative into consideration when composing every shot.

/agree Adam This discussion is very illuminating)