Lance Flores

Thank you for the Internet link. If you have Skype installed (ningún costo) my Skype address is lance.flores Lance Trabajo en una pantalla juega a por un cuento de un género similar. Está fijo en España, México y Texas. Dispararía esta película próximo. Guarde en contacto conmigo.

It's not the principle . . . it' the money. Thuggish Studio Guy (Jim Knobeloch) King Kong (2005) It's the money. Story occurs in two periods. Contemporary (last two weeks of 1999) and 1969/1974 with about 4 scenes in about 1988. Ron will be 2nd unit DP, StediCam, 1st Unit A Cam when not on 2nd unit set. He's probably in the top three most versitile, experienced, and qualified cinematographers in the industry. (His IMDb resume only has about half his work) He's not the DP because he had a bad eye injurys (detached retinas) during a shoot, which left some colour disfunction. But he is the best camera choreogropher I know and is working with me during PreViz. Jim will be working on getting the camera profiles, lighting, testing at the EXT. and practical location and working with us durng PreViz and the Prod. Designer to insure we can get the shots I'm looking for or finding better shots. Once the shoot begins, Jim will be Lord of the Visuals. All this work saves us money during the shoot. Actors ad crew sitting around costs a lot more money. - - - On another note, don't you live in London? Will be there soon to work with our composer. Maybe we can have brew at a local pub.

After the technical and creative skills are to your needs it's personality and trust. If doesn't work the qualifications don't matter. It will be a nightmare . . . just goes for any project collaborative creativity. Take them through a few scenes and see how well they listen. When they describe their interpretative method of shooting the scene see how well you listen. Its always best to look at their finished work and talk with others who've worked with them. Always good to observe from a distance, like an after hours gathering with others or place like this. Nothing like sitting back with your mouth shut and watching others being candid. I try to get recommendations and opinions from others who will be candid as well.

Looking forward to working forward with L.A. Cinematographers Jim Mathers and Ron Vidor in our production.

That's great. $100K for a Master's project. And yeah, I know who Tony Lynch is . . . I sure he knows Jimmy Nickerson. Keep the pro's close to you and because you'll learn a hell of a lot. Something like stunts, including fight sequences. You can write/choreograph in your surprises for the viewer, that's what being a writer/director means. Best to you on your project. Let me know how it work out for you Glenn.

Glenn, I noticed your signature shows that you are a student, but it appears you're doing a professional shoot. ??? . . . and you're in Australia? I'm not an expert at fight sequences but I have observed one who is. A friend of mine does that type of choreography and stunt coordination, and from what I've observed, it seems to me if you want your fight sequence to look realistic you've got to choreograph it down to the dripping of perspiration. Fight, or rather boxing, sequences are really pro stuff if you want it to look real or surreal. I recently was on set with Jimmy on location and have a renewed appreciation for fight sequence stunt work. Jimmy was the stunt coordination for Raging Bull, Rocky, Rocky II, and some other films. Actually, he's doing some technical advising for me, and is cast in our production, so you can find his link on our web site. I don't know if I have his stunt company's link on there but I can call him and find out for you. One of the posts suggested that choreography makes it look fake. I'd have to disagree. I believe, from what I've observed, that if it looks fake then the choreography and stunt coordination missed doing the shot correctly. I'd previz the entire fight sequence and get my stunt coordinator and cinematographer in on the previz after you've roughed in the shots. I wouldn't do any scheduled inprov unless you've got actors and stunt people very well experienced in these type sequences. Best wishes for a great shoot.

Really good picture. It was shot with Sony 900 and screened 1.95:1

It's been interesting and a pleasure you. I'll be wrapping up all the financial transactions this week on our production and moving into preproduction. I'll check out shortly for a while and back during priviz then out again just before PP. I look forward to returning and hope to meet and work with some of you on our future productions. Best to all. Ciao

I thought the late Piotr Sobocinski, PSC, had an extraordinary gift for light and movement that I admired greatly.

The French Lieutenant's Woman particularly the jetty scene haunts my memory . . . an indelible mark he left upon the art . . . his craft . . . his profession. One can little more of life. He did well.

In essence, yes. What we do is run a camera through characterization and normalize the data to the target profile, let's say the profile of the Dalsa Origin. Then we build correlation a database or algorithms. Then we decide on the profile from one camera with all the LUT etc. data as the target then extrapolate the data captured from any of the client cameras. The big problem is on the storage of the data. Once your sure you've got the interpolation correct you can archive the original. So basically what we would do is to take, for example a 2K image, the data and interpolate the chroma, etc information and then extrapolate it into the target 4K image applying various algorithms to adjust edges so they have the right contrast, and all that other silly stuff. So what you end up doing is building meta files so that you don't have to generate large temporary intermediate files .. then you send command lines and metadata to a render farm and it does all the work. What you end up with is a file that virtually matches the 4K images from your target 4K camera model. You then archive the original capture. Sound complicated .. guess it is ... but after the first few runs you no longer need to go through the whole process. Once you build all the translation information you just simply submit the file location of the target data to the render engine with the appropriate command file.

Max you've just been looking in the wrong places. You confuse them with tele-centric and lens-centric. Look for the boxes labeled egocentric.

I thought it might go that way. Ron just finished a shoot with Arri digital. He liked it. Thought it did a good job. I done any evaluation with it. have no data. Good idea .. could use the Phantom 2K. It would be mostly used for the INT. portion of night raid scenes. It's got great sensitivity at low light and virtually no noise. Thanks David.

I just got off the phone with Ron Vidor when your post came up. He got my message late and missed the presentation. But one of the things we were discussing was the monstrous size of the Dalsa. Ron's doing all our stedicam work and 2nd Unit DoP so he is concerned. Dalsa said they would halve the smaller version ready for our shoot. The test data I have from the camera looks great. Did the announce availability for the smaller format? I'm wondering if they will have it ready for us.

Andrew - you are exactly on point. I've working through similar issues. I'm having three complete sets of 70mm lenses made.

Yes. I'm not too concerned. I'd rather not soften things and can compose the shots to work for the story. As we work through previz we can work out feel we need with the DoP and 2nd Unit DoP/stdycm. We'll have lenses made for us if need be.

List of lenses available: List of Lenses

I received a vip invitation to one so I would say yes. I've settled on the Dalsa since no one else is ready for a 4K feature production with a camera directly compatible with our workflow and provides what I want for the capture.

I have to agree with David and some of the others. The technology is proven, and with the money you have behind the project there should be little doubt that you can achieve your goals. The only concern I've had is: deliverables and date. Mostly, you guys have suffered from bickering with a lot of very small players in the industry who aren't going to purchase your camera anyway. Instead of cultivating relationships with filmmakers that have a legitimate interest in the technology, you're out arguing with people who are only interested in arguing for the sake of arguing. You just need to make sure the fab line can maintain the die parametrics on repeatable runs, and there is a good interface to the downstream workflow and processing. The proof is in the pudding. Perhaps your marketing department could respond to production companies.

Doesn't wag the dog . . . just an important consideration in the production process.

Mitch - I need an application that can operate on 4K frames that we can work on in the 2K format with the meta files and generate command lines for a render farm to operate on the 4K files. I believe Apple purchased Shake, but I don't know if FCP has a plug-in that generates the resource list and the command line executable for the render engine. I'm thinking Shake and Maya to handle our 4K render. What do you think is the best solution?

The incentives are good, but the exteriors I need are a stretch for Chicago. I've got most of my critical crew coming out of L.A. anyway, people I really trust. I was getting the feeling that the rest was rather thin, with other productions going in there now. Well thanks. It sounded inviting.

David - I hate to take you back to the original thread subject after such a diverse departure, "M. David Mullen & The Astronaut Farmer in AC", but could I inquire about your experience in shooting in New Mexico? New Mexico has been very aggressive and responsive, but I'd like to get a feel about their crews and work environment -- sound stage facilities.

Sorry - David's right. I was relating the '65 not the HD. It is almost square. I remember asking our sale engineer why it was square. The response was to just use what you want, because they give you virtually complete control of the addressing scheme of the data. The 65's sensor seems to be an extended mask which we often do by step & repeat mechanisms in making the mask sets for the lithography process. The VR focus was always on the data integrity and accuracy, hence the 42bit color, high S/N ratio, etc. The software reflected their scientific orientation. Everything appeared measured in a temporal absolutes, like shutter timing reading out in microseconds rather than relative angular measurements in degrees. (Their fixing all that now) All these small engineering issues, but important for the end result. The image technology is spectacular. I dislike discarding the resolution because of the square-ish aspect ratio. Too many times in edit when you wish you had more resolution, what you would do for a fist full of pixels.

The format is 4096 x 2440 (1.68:1). So its not square. The electronics will allow you to address the pixels you wish. I can't remember because we did a lot during for the short time with the camera, but if my recollection is correct, you could probably access a 2440x2440 area. Lance