Jon Rosenbloom

Hey Jan, Forgive my confusion, but I'm still trying to figure out what all these numbers mean: I surmise that whatever work we do in camera, whether on film or beta or dv (digi-beta, mini, dv-cam, dvc-pro) - however it's "captured" (24p film or video, or 24p-a), it will end up being shown on someone's tv or moniter in an interlaced form (60i, or 30i), which requires the dropping or splicing here and there of inidividual frames (aka "pulldown.") Is this correct? Also, the DVX-100a brochure mentions "true 24p editing" given a compatable non-linear editing system. Would this be the digital equal of the old practice of hacking up actual strips of film on a Steenbeck? Last, the same brochure has a chart showing the different shooting/pulldown options of 24p, 24pA, and 30p. Looking at this chart, I have to ask why 30p isn't the obvious choice over the other two for your run-of-the-mill shoot on video, output a dvd type production? (I get that one would choose 24p if there's a hope of making a film print.) Thanks for the info. J-Ro.

Phil, Thanks for the info. I shot it at 50. Got any suggestions for a cheap way to lay-off 10 minutes of reel-worthy footage? (The Avid room I'm using doesn't have a dvc-pro deck.) My DP career is still at the point where I pay for all my transfers, and the costs tend to pile up very fast. Thanks again, JWR

The title says it all: I shot a short film on this camera (loved the camera, btw) about a year ago and want to lay off some of the footage for my reel. I've been under the impression that I need a deck specifically made for the DVC-pro format, but now I'm told any deck that plays DV-cam tapes will do the job. What's the answer?

Preposterous. I'm an IATSE member, I've worked on dozens a TV shows, big movies, small movies, you name it; so I can tell you firsthand that U.S. crews are not workshy. We routinely work 16 hour days, go 9 hours between meal breaks, endure bad weather, unhealthy environments, and on and on. The average TV show begins filming on Monday morning at 6 or 7am, and the week ends sometime around 3 or 4 am the next Saturday morning. Workshy? Are you f*ing kidding me? These hours and conditions exist DESPITE the few workrules that producers are still obligated to observe. Sure, once in a while someone gets a paycheck for just showing up, (or even not showing up) but that's hardly cause to shed tears for the above-the-liners. What do you think things would be like if the producers had a blank check?

This has probably been covered: The problem w/ LIT isn't the movie itself, but the ridiculous hype around it. On it's own, it's not much of a film; it's very slight, physically & emotionally. In fact, the story is just a big tease the whole way through. But, it was a break from the usual mind-numbing hollywood bombast (e.g. Mel Gibson yelling "Freedom!!!!!!!!!!!!!!!!" as his guts are ripped out), and critics who are starved for anything that even appears intelligent couldn't help themselves in lavishing praise on it. The marketing dep't hypes the praise, then it's a phenomenon. Then people go to the movie w/ high expectations, and come out wondering what all the fuss was about. Happens all the time. (IMHO, I think the same can be said for "In The Bedroom.") Why get so upset about it? If she can succeed by making little indie films, more power to her. Maybe I'll get to shoot one ;) .

Well, you could hire me, but maybe my 5 student film credits might not satisfy your investors. :) (I have some names I would avoid, but I don't think that's in the spirit of this board.) In all seriousness, I think there are plenty of qualified candidates who would kill to shoot a 4mil feature; the nub is finding someone w/ whom you feel comfortable collaborating. How you judge that over the course of a 1 hour interview is anyone's guess. Someone might be a very smooth talker, but be very inefficient on set, or vice-versa. DP's face the same challenges when hiring AC's, gaffers and grips. Good luck.