Greg Gross

Hey lav, I used to hide remote cameras(stills) behind the minister's/priest's podium before the ceremony and also small flashes with sensors that would fire when triggered. I don't do it anymore but my crew does. I've got a girl that gets up in the balcony with a Nikon 300mm f2.8,F5 and shoots her heart out. I just turned 58 on tuesday,more and more I'm assuming the director's position. I to am trying to shoot a great independent film. Hey lav, one time I caught the bride's mother with a remote camera from behind the podium,she was crying and all emotional. The bride loved it so much when she saw it and I thought she was going to pass out as she was so excited. I sold so many copies of that print that I lost track of them. Bought myself a Canon EOS 1,D Mark II N. The Nikon girl drives me nuts to use it. I would like to get up in a balcony just one time with a Panaflex and some 400' mags and a good Panavision prime lens. Sweet Jesus man I'd stay up through breakfast,lunch,dinner and they would have to drag me down. I think you're PD-170 will be okay. Greg Gross

Jesus Mate, Filmmaking is hard,heart breaking work!! Why do we want to do it? Where do these men and ladies come from to work so hard for almost no recognition,sometimes achieving a great award,only to stand in the spotlight for fifteen little minutes. When Mr. Eastwood shot "Million Dollar Baby" I was on my knees saying dear god please give this man what he deserves for such a beautiful film. When I saw him walk up to the podium to except his award, I swear I had tears coming down my face. Why do we keep trying to do it mate? What makes a filmmaker tick? Greg Gross

I guess I've been lucky when shooting weddings. I use two dv camera operators and two stills photographers. I shoot stills and dv. We cover a wedding like CBS is covering Iraq. Never have had a condensation problem yet,shooting inside and outside. I suppose it will pop up when we are not expecting it. We shoot inside and outside. Greg Gross

I just picked up two new books about the filmmaking of Francois Traffaut: 1. Francois Traffaut, The Complete Films 2. Francois Trauffaut At Work Anyway on page 140 of Francois Traffaut,The Complete Films,Francois is standing along side of a Panavision camera and giving direction to an actress. The camera operator has a black cloth over his head like you would use when shooting with a view camera. It looks like a 400'mag on the camera and the camera mag has the word Reflex written on it. The camera body looks bigger than what I've seen on Panavision cameras. On the side of the camera body are the words Panavision at the top,and below that Panaspeed. Would anybody care to comment on what Panavision camera this is? I am fasinated with Panavision cameras. I've started to do research on them. Greg Gross

Okay Mate, Here's what you do if you come inside and camera displays C:21 and two small squares. Per Sony: Place camera into a plastic bag that the camera will fit(fill up) and seal bag closed tightly. Tape closing edges if necessary. Let the bag fog up, form condensation on it. Remember you are inside now at inside ambient temperature. When bag clears of fog(condensation) the camera and bag will have warmed up to ambient temperature inside. The camera is supposedly free of condensation at that time. Now this does not apply to a camera that has gotten soak and wet in the rain or submerged in water!!!!!!!!!! I hope your problem is solved mate and happy shooting. Greg Gross P.S.- Take tape out of camera before sealing in the bag. Yes I see that you have PAL version so dis-regard my fps info but I'm sure you are aware. Hey mate what do say we switch to Panavision equipment and get away from from all dv bullshit. I swear my head,brain is like a lap top storing all this menu stuff! What do you say we switch to film? Greg Gross

Can you post the serial # for your PD-170 so that I can reference the year it was man- factured and see if its expected to have any problems. Are you sure that you have the time code formatted correctly in menu,camera set up properly? I personally do not know any op- erators who have had any problems with these cameras at all. You know it may not be the camera. The audio on these cameras in my experience has been flawless. The time code is set between 00:00:00:00 and 23:59:59:29. Auto sets code per tape in camera. DF selects the drop frame mode. NDF selects the non drop frame rate mode. Rec. run- Time code ad- vances only while recording. When making the time code continuous at back space editing, select this setting. Free run- Time code runs freely regardless of the current operating mode. Have you tried re-setting time code. In the NTSC standard, the time code value is based on 30 frames per second, but the actual video frame rate(frequency) is in fact 29.97 frames per second and the real time, or 18 frames per 10 minutes. Drop-frame mode corrects for this by skipping two frame counts at the beginning of every minute which is not a multiple of 10. In drop frame mode,however,no frame counts are omitted,and there is a gradual deviation of the time code from real time. Once you set TC Make to Regen in the menu,even if TC is set to free run, the running mode is automatically set to Rec Run. Just wanted to go over basic set-up,menu with you. Have you gotten any condensation at all in the camera? Condensation in this camera will make it do some crazy damn things. Self diagnosis on the camera will dis- play an error code of C:21 when condensation is present,the last two digits of the error code are two small squares. Dirty video heads will display error code of C:22 and two small squares. E:61 and two small squares is a malfunction you need to contact Sony about. E:62 and two small squares,call Sony. Hope something here will solve your problem. Greg Gross

Thank You John and Thank you Mr. Bruening, I've always been told that brass barrels are better than cardboard ones! I did not think that the Nikon 180mm would have 5 elements,that surprised me. Maybe due to it being cine lens? I'd like to see how they eliminate loss of light in this lens. I was in NYC today,saw a used Zeiss in case(counter)used for 8X10 view. 1000mm for $1000.00,at 1dollar per mm,thats how the kid behind the counter described the price. I did not get a good look at it as I got distracted from it looking for a used heavy duty,water proof camera case. I was curious if it went up to f40,f45,it was probably at least f32. The 180mm really sounds beautiful. I also got distracted by a very beautiful japanese girl(store rep),hair down to her waist,extraordinarly beautiful. I wanted to get her to explain some cine lenses to me(she's their expert!) but the place was just too busy. These cine lenses are actually rentals and she teaches orientation to cine equipment at different days of the week. I'm going to sign up and believe me I will not refer to any lens having a sweet spot. I have really enjoyed these posts. You guys are truly great professionals and you have a great sense of humor. Greg Gross

You have never heard of film having a loss of sensitivity sir? How about the aging of film with time? The expiration date on the can or box? Do you really think I would shoot a wedding with expired film? Greg Gross

I was really awestruck with the film "Geisha". The film was an example to me of rare beauty. The low light photography was extraordinary to me. I was impressed and em- otionally moved by the older japanese era as it progressed towards world war II. The change of people and places as the film progressed chronologically along. I was partic- ularly moved by the beauty of Michelle Yeoh as she progressed chronologically in time throughout the film. Greg Gross

Thank you dgoulder for your report on the Nikon cine lenses. Mr. Pytlak you lucky guy! I would give up all my Nikon lenses to speak to Tak for 5 minutes and I'd probably make a fool out of myself. Mr. Bruening whats the aperture range on the Nikon 180mm? Angle of view? I'll bet the glass is real beautiful. Can you open up full with the whole set for a sharp image? Does anyone lens of the Nikon set tend to be slightly soft or soft? Thank you for all of your posts.Mr. Pytlak thank you for all your posts and the time you spend on the forum helping us to learn the heart breaking business of filmmaking. Greg Gross

On Lighter Side, Ever since I saw Mr. Eastwood wearing a Panavision t-shirt, I had to get one. So now I have the cap and the t-shirt. I feel like superman everytime I put my Panavision t-shirt on. I wonder if David Mullen ASC has a Panavision t-shirt? I've seen pictures of him standing close to a Panaflex. I think I'll always wear it if I'm working with Panavision equipment, you know from a good-luck stand point. Is there anyone else out there that is made crazy by Panavision equipment? My girl- friend is an aspiring DP(film school) and she likes that Arri stuff(I do also) so anyway she tells me to get the Panavision t-shirt off all the time. I always wear my Panavision t-shirt when I go to view a new film at the cinema,wore it to see "Hostel." Well I guess we were talking about lenses and got off the track. Well anyway I'm going to continue my quest to see if lens manufacture's are making parts for each other,barrels,helicoids,coatings etc.. I will post when I complete the research. Greg Gross

Yes sir, Your point is well taken here. I have complete faith in Nikon glass believe me! I was speaking here of lenses not re-mounted/re-housed. From the stand point of the purpose of one lens com- pared to the purpose of another. I love Canon lenses also,unfortuately for me,as I get torn be- tween the two at times and its makes me miserable. I am still researching to see if the major lens manufacture's are making parts for each other-barrels,helicoids,coatings etc.,and have not found out anything yet. This is due to a curiosity of my own and I have a feeling some of them are. I only have the experience of looking through a few Panavision lenses on a Panaflex and a few Zeiss through Arri 16mm/16mm super cameras. In both experiences I was impressed but lack the experi- ence to make a judgement. There is just something about Panavision equipment that just grabs me and I can't let go. It might be from the stand-point of studio cameras. I plan on getting experienced with them. I've never had much of a problem operating any kind of camera really or utilizing lenses, focal length,dop etc.. I was the kid who skipped school to play with cameras and hung out in the dark room. You can tell by my lousy grammar! Thank you for your post. Actually this spring I plan on re- nting a Panaflex and doing some work with it. I want to shoot some shorts,some commercials and I'm hoping to obtain some short ends if I can trust the source. I will be teaching myself to operate the cam- era,so its going to be the hard way. I will have some good advice,instructions from rental facility along with an orientation. Greg Gross

Not even a $6000.00 or $8000.00 Nikon,Canon prime say f2.8 is going to compare to a Zeiss cine lens. Of course as you increase focal length with these primes you're going to be at f4.0,f5.6. These Canon's,Nikon's are no comparsion for the Zeiss cine lens. The last time I used a Zeiss prime was on a 4X5 Linof and it did a real fine job,real performer. I,ve seen some real nice Zeiss primes offered in rental packages for 16mm/16mm super. I don't know if you all know that Canon was formed by a group that broke away from the Nikon co.. Originally Canon only manufactured lenses when they first started out. Nikon(Nippon Kogaku) started manufacturing optics in 1925. Rare earth elements are used to their fullest to manufa- cure glass for optics. Nikon actually performs this glass making process by utilizing platinum lined crucibles which they manufacture themselves. The glass is then ground,polished,coated and finished for mounting. The lens barrels,helicoid(houses lens) are manufactured by Nikon just as precisely as the glass is. The idea is to provide a lens with maximum distortion free per- formance. Maximum corner to corner sharpness without vignetting at full aperature. Of course the autofocus lens of today utilizes more of a computer manufacturing process than the manual lens. The actual surface elements of the lens in contact with air,reflect about 4 to 5% of the light that strikes it. I'm speaking now of a lens that has been coated. When light enters a lens with a num- ber of element surfaces, a significant amount of light is lost through reflection before it reaches the film plane. Now,the more surfaces the greater the potential for problems. Reflection can cause flare which reduces the contrast of the image. Lens coatings are designed to reduce the loss of light throu- gh reflection. Generally a reflection loss of 1% is considered acceptable. Is it noticable at 1%? I give up,you tell me. Lens surfaces are coated with a thin layer or multiple layers with varied refractive in- dexes. The thickness of one layer of coating is equal to 1/4 the wavelength of light and varies accor- ding to the type or usage of the lens. I do not know how the Zeiss manufacturing process varies from the Nikon process. I do not believe though you can compare the Zeiss(cine,special purpose) to the Ni- kon lens you are speaking about. The Zeiss lens I used with my mentor's Linhof was superb.I like the few Panavision primes that I have peered through. I have never looked through a Zeiss cine lens. I suppose I would choose a Zeiss cine lens if one was available to me for a shoot. It will be a bloody day in hell before I use any Zoom!!,unless I absolutely have to. I personally think its a good idea to learn how to frame with a prime and take the camera to the action,the subject. Now on the other hand I am bright enough to know that you cannot always do that. It would be interesting to look into the various manufacturing processes of the optics manufacture's and see how they really compare. The main coat- ing used in a single layer is magnesium fluoride. One of my favorite Nikon lenses is a 55mm f1.2 from 1965. Its length is 2.5 inches with an aperture range of f1.2 to f16,angle of view 36 degrees. It weighs 14.8 oz.. This lens for example is known to be sharper in the center then at the edges. I have the one that came out with a rubber focus ring. You can shoot wide open with this lens without any loss in image quality. Well just some ideas here about qualities of a lens and purposes for lenses. Greg Gross Hey Santo, I'm going to do some research and find out if Nikon manufactures any parts,glass,barrels, helicoids, coatings for Zeiss. Hold your breath partner for I shall return. Heading for the telephone right now! Greg Gross

Can you please refer me to person who is telling you to freeze film. Can you give me a name a lab. They can call me at 717-233-9065(they may reverse the charges unless its overseas)?? Greg Gross

Sweet Jesus, Fellows its not about what camera you use. There is art and craft here you know,which comes with practice and learning(studying)and then putting it to practice. You've got to compete with how many people to shoot a film? How many features are being shot every year? I'm not trying to be a smart ass here, but I can take Velvia 100F pop it in an old Nikon FE-2(old by todays st- andards)shoot at the appropriate time of day(bracket) and do just as good a job as the guy with a Canon eos1,D,Mark II N. This really pisses some photographers off that are so equipment ori- ented. I firmly do believe though that the better the lens the better the final product. I do not like zooms,I prefer primes. You are going to have to shoot with what you can afford or afford to rent until you make it to the big time. It took me a long time before I could have a canon eos1,D,MarkIIN in my inventory and I still swear somedays,that I have more fun shooting with a Nikon F2. My dream machine is the Arri 235,I wish I could afford the film for one. Greg Gross

Yes but how long did it take for the DVX-100(post production) to get to that point say Vs. super 16? Greg Gross

One must always remove film from cold storage and give it enough time to warm up to the ambient temperature it will be used in. This prevents(moisture)condensation on the film. I"ve done it with still film of all types for a lot of years and have never had a problem. Have carried film in ice chests on real hot days with no problem. I just do not know with the film you're talking about here. Would you be able to let it warm up to ambient temp- erature,go in a dark room,cut say 100ft. off,load on to camera spool and shoot a test? You could then develop it and have a look. Trouble is you could still have a problem some- where down the line on the original spool. I forget now if you said negative or reversable. I agree with John that you may have a problem due to re-canned film. Do you know the ex- act history of film,prior to you receiving it? Never freeze film!!(unless somebody knows some- thing I don't) It would be news to me, as film is going to contract and expand if you freeze it. Greg Gross

I agree with John from a standpoint of basic photography techniques/exposure etc. . I assume you have reliable lab(post instructions for them). I'm not trying to be a smart ass here,tell them exactly how you shot/exposed the film. You really don't need a meter for lowlight, I assume you are going to open up T2.8,1.8,1.4 etc.. You will know the intensity of your key I presume? Again I'm not trying to be a smart ass,but you should use a recently calibrated meter if you're using one. A meter that has been used for professional results and its exposure values know to be true. What I mean is, not a meter taken out of the box at a photographic flea market and immediately pressed into service. As I see it you really do not have much of a choice except 500T. Best of luck with your shoot. I think you will notice a difference with a push beyond two stops. Greg Gross

When I shot my second dv feature to direct dvd,I had the production company rent me two DVX-100A's and both were set up with cinema packages. I shot 4:3 and then went 16:9 in post. Really got great results,it was simple. I really was concerned about focusing issues and the ability to work fast with two cameras. I have long time experience as a stills photographer,so I'm used to observing entire frame and paying attention to whats in the frame. On my first dv to dvd shoot I used two Pd-170's without anamorphic lens. I really agonized over using anamorphic lens Vs. no anamorphic. I researched issue here on forum and one post I read (David Mullen ASC) suggested 16:9 in post. I had already known that soft focus,shallow focus could be an issue. I did a lot of the camera work for my shoot and I wanted to be able to work fast and feel secure. My director on the first shoot was a women who started to pressure me about how we would shoot. I had to make a decision pretty quick so I called a production facility in NYC and they tuned me in to the world of post production. They were in complete agreement with Mr. Mullen(the info from his post) thus I was able to solve my dilema. Forum has been very helpful to me and is a great source to me for pre-production woes. In pre-production meeting with director soon after,I told her I wanted to shoot without anamoprhic lens and she disagreed. I told her I would not be able to photograph the pro- duction and would have to turn the job down. I never call myself DP, I use the term "photographer and I refer to photographing the production. My director did not really know what she was doing but I resp- ected her at all times. I think she had been reading some fancy articles in magazines. Anyway she called the production facility in NYC and got tuned in to post-production also, and then called me back to get me to re-consider. I shot my second production with the same director and we are starting to develop a true working relationship. I really appreciate Mr. Mullen's FAQ and posts on the forum,they have been great pre-production tools for me. I'm hoping someday to shoot anamoprhic lens with film. One benefit for me out of all of this, is that in small circles they are saying that I can work fast. Not a bad attribute to have. Greg Gross

Once upon a time there lived a great director-Alfred Hitchcock. Loved by those who knew him and admired by those who did not know him. He survived in the heart breaking world of filmmaking,his images live on,on in the celluloid of film stocks. They have stood the test of time,some of them admired and some of them un-admired. Listen for the sounds that eminate from a tape recording: Truffaut- Well...what did you say to Cary Grant...Hitch? Hitchcock- That a script is built...Three things make for a good film...A good script... A good script...A good script. Cary told me on the set one day that the script was no damn good. Well Ernie Lehman had told me that early on. I told Cary that the script would require more building. I told Cary that some problems were created due to the rapidity that the story progressed. I reminded him once...that I was the director. Cary was getting five thousand dollars a day...for every day shot over schedule. (Alfred Hitchcock,North by Northwest) ROGER THORNHILL- Here...reach now! EVE KENDALL- I'm Trying! ROGER THORNHILL- Reach out...yes you can! EVE KENDALL- I can't make it! ROGER THORNHILL- I've got you...come along now...Mrs. Thornhill (Critical Event From Script of North by Northwest) Truffaut- Hitch...what was it like directing Cary Grant? Hitchcock- Well Cary was only an actor...you know. Actors vary in the amount of direction that they require. The script also determines the direction required. Cary was a craftsman ...He had an idea of his own how a scene should be filmed. I would needless to say... remind him...that I was the director...Only once was necessary. Cary was a craftsman, a gentleman. (Alfred Hitchcock on North by Northwest) Quotes: "I never looked into the camera viewfinder...my cameraman knew I did not want to have any air or space around Eva and Cary". - Alfred Hitchcock "Eva...don't use your hands...speak low...look into Cary's eyes."- Alfred Hitchcock EVE KENDALL HANGING OVER A CLIFF: "Now...Eva make no mistake about it...You're in a very precarious position...Its a rather long drop to the ground below you...And you can come to grievous harm if you fall...Now Eva...Play it as there is no hope...The firemen cannot arrive in time with a net. (Alfred Hitchcock,giving direction-North by Northwest) All information,quotes are from the book- Truffaut/Hitchcock,1985 by Francois Truffaut I hope I have not bored anyone with this post. it does give a little insight into the mind of a great director and his techniques of direction. I will refrain from anymore posts on this subject. I realize that this is not everyone's cup of tea. Greg Gross

Yes I do, Thank you Mr. Greene and I've finally gotten my laughter under control. Truffaut's "Day for Night" is one of my favorite films. Greg Gross

Yes sir, Thank you, and I've read the book sir. Do you remember the story about Truffaut and his associate,they were dressed up like french gendarme's. Truffaut's friend was Claude Chabrol. Anyway they were trying to track Mr. Hitchcock down for an interview(french press,cinema). Mr. Hitchcock had just finished shooting "To Catch A Thief". Mr. Hitchcock was sitting in a dark auditorium viewing a loop of the motorboat scene with Cary Grant and Brigitte Auber. The loop was being continuously run on the screen for Hitch. Truffaut and Claude approached him with a tape recorder for an interview. I mean this moves me to tears,I'm going to need stitches when I'm done laughing. Can you imagine the look Hitch must have had on his face. I think he knew though that the boys loved film. Anyway Truffaut says in the book that Hitch turned towards them and asked them very courteously to wait for him in the studio bar across the courtyard. So while Truffaut and Claude are crossing the courtyard,they fall through the ice of a small skating pond. The tape recorder was submerged in water and they were both soaked and chilled to the bone. Apparently a wardrobe mistress saw them and thought they were extras, she gave them the gend- arme's costumes to put on. She thought they were extras in the film "Rififi" being shot. Anyway a few minutes later they approach Mr. Hitchcock,seated at the bar. They were soak and wet and drip- ping water,shivering. Trauffaut said that Hitch looked them over with no comment about their appear- ence and suggested another appointment time,later in the evening at the Hotel Plaza Athenee. One year later,Hitch finally acknowledged the incident by saying to Truffaut and Claude- "Gentlemen,every time I see a pair of ice cubes clicking together in a glass of whiskey,I think of you two."- Alfred Hitchcock In 1962 Truffaut wrote to Mr. Hitchcock to ask him if he would answer 500 questions for him. I would have loved to hear what Hitch said when his secretary handed him that request and he read it. Right now I'm laughing so hard I cannot breathe, I'm spilling my whiskey on myself. Hitch agreed to a 50 hour interview. So get this, Truffaut says- "It all began when we broke the ice." Sweet jesus I cannot stop laughing. I loved Alfred Hitchcock,still do,loved his demeanor,sense of humor. God bless Mr. Hitchcock,one of the greatest directors hollywood has ever had. About Vertigo,Hitch said- "I was intriqued by the hero's att- empts to re-create the image of a dead woman through another one who's alive."- Alfred Hitchcock Greg Gross

Hey Landon, Can you imagine all these posts? All I said was if I didn't know better I would have thought Mr. Hitchcock(God bless him)was on the set of "Hostel". Did you know that Brian De Palma loved Hitchcock? I ran into a guy on a set tonight and he told me Mr. De Palma used to have a large poster of Mr. Hitchcock,on the wall of his audition room in NYC. Have a good weekend! Here's one of Mr. Hitchcock's quotes- "If I filmed "Cinderella", people would be expecting a corpse to fall out of the coach". (Mr. Hitchcock,ca. 1961). This quote was taken from the book- "Hitchcock" by Robert E. Kapsis. Greg Gross

I wanted to get back to you again on your test shooting. My girlfriend was shooting an HD commercial tonight and I was the chef. She had me cook for the cast and crew. I fed them pasta,meatballs,sauce,salad,garlic bread,cheese cake. So now its all over,the martini shots are over and I've got my kitchen back to normal. I'm using wifi here in the kitchen with my laptop,just set wifi up a few days ago. I just wanted to say that when I shoot b&w I try to use a one light source if I can. I have even lighting to the edges(all edges) of the source. The limit with this one source is if it has to be too large(extremely large) and then its not practical. I can create a range of shadows,fills when using this one source as key and fill light. I like to control intensity by moving light back from subjects. If you get use to doing this you can determine your f/t stop without a meter. Of course you really donot need a meter at all but that Is highly debatable on the forum, I believe because of the varied experience of the members here. I would encourage you to get a sound hold on photography principles,it will help you immensely and save you a lot of time. Do not be afraid to bring your key close to the camera, I run into DP's who never do this and just do not seem to be aware of its signifigance. Photograhers are use to having a key light close to the camera and also use to moving light around camera axis. The reason I would use a one light source myself is because it gives me a style,its my signature. I swear just about every film I see is lit with large soft light sources. I like low light photograhy as was shown in the film "Geisha", a truly beautiful film. Michelle Yeoh was photographed so beautifully it brought me to tears,even as she aged in the film she was so beautiful. I would have liked to see what just one light sources used appropriately could have achieved here. Of course use of reflectors also. If you can get back with your story line for us please do so. If you can post shots with actors in costume on working set that would be great. Best of luck with your production. Do not be afraid to create shadows, use of hard light is not against the law. Greg Gross

On the lighter side: "If I filmed "Cinderella," people would be expecting a corpse to fall out of the coach." (Mr. Hitchcock,ca. 1961) "Good Evening. I'm Alfred Hitchcock,and tonight I am presenting the first in a series of stories of suspense and mystery,called oddly enough,"Alfred Hitchcock Presents." I shall not act in these stories, but will only make appearences- something in the nature of an ass- essory before and after the fact, to give the title to those of you who can't read , and tidy up afterwards for those who don't understand the endings. Tonight's playlet is really a sweet little story. It is called "Revenge." (Mr. Hitchcock Oct.2,1955) In Preston Sturges's self reflexive comedy, "Sullivan's Travels", the traveling companion of a famous movie director asks him about other famous directors, including Capra and Hitchcock: THE GIRL: Is Capra nice, or don't you know him? SULLIVAN: Very nice. THE GIRL: Is Hitchcock as fat as they say he is? SULLIVAN: Fatter THE GIRL: Do you think Orson Welles is crazy? SULLIVAN: In a very practical way. Above quotes are from the book- "Hitchcock" by Robert E. Kapsis Please Mr. Spielberg, make a film about the life of Alfred Hitchcock? Greg Gross