Greg Gross

You could actually create a real star effect at right time of day with just your camera lens(on camera of course). Shoot images digitally and view effect for end results. Of course working fast with the co- operation of weather is reqiured. There's a new technique being utilized by still photographers now to create filter effects without actually using a filter as we know it. I guess you could say you'd be using nature's big key light. Think of your eye as the camera lens(eye of the photographer) the aircraft win- dow was the filter and the key light was nature's. Greg Gross

Is Prince really a DP? I have not heard about this. I wish him the best and love his music. Greg Gross I hope you are accepting Sydney Pollock here. Greg Gross

Thank you Tim, At last real names for all. What a refreshing breath of fresh air with my my eyes "wide open" and not shut. Greg Gross Professional Photographer Student Cinematographer

Okay Guys, See these are the issues that come up. I do not want to discuss it anymore on forum because I think it takes away from purpose here which is craft and art of cinematography. If you want and anyone else may feel free to do so- E-mail me at pd170user@yahoo.com and I'll be glad to answer your questions or debate a little with you. Thanks for your posts. You can also write me at P.O. Box 5057 Harrisburg,PA 17110. I'm not dodging the issues I just do not think they should be discussed here. We should discuss firearm safety on the set/production here. Greg Gross

I really enjoyed the posts on issue of carrying hand guns. However it is a cinematography forum and I hope we all will let this subject come to an end. I mean just as it applies to fake guns,blank guns on set,film production should be discussed. Of course safety included as to who controls these items during a production and who insures for safety. I will make a few comments and then its over for me. Most of the time I carry a Glock .40 cal. auto pistol(small easy to conceal). I do not even think about it as far as it being on my person. I'm licensed and hold a current PA state license to carry. I teach handgun safety once or twice a month at my gun club. Primarily I teach women who will carry a hand gun for the first time. Usually they will carry the weapon in their purse but not always,for obvious reasons,as someone can grab the purse and run with it. The course I teach is an NRA course and I foll- ow their guidelines. Safety is heavily emphasized and encouraged and taught as the primary course. Then we go in to combat techniques and safe techniques of carrying a firearm. Anyone who displays continual carelessness for safety or who carries out un-safe practices continually is dismissed from the course. One should carry the firearm that they are qualified to shoot with,the qualification weapon. It is very easy to carry a full framed .45 ACP(pistol) alloy frame not steel. The secret is to be aware of the proper technique of carry,as where to conceal it on you,type of holster. I wear slightly baggy shirts, as out of the pants shirts in the summer,sweatshirts and sweaters in the winter(lot colder here than LA). My favorite carry .45 ACP is actually the Sig 220 which is carry ready right out of the box. I prefer wood grips. Now that is it guys,end of discussion on carrying firearms. I hope everyone practices good safety while using fake firearms and blank firearms during production. Auditing of weapons and ammunition it seems to me would be a great practice. I just remembered all the firefight scenes in Mr. and Mrs. Smith. It would be interesting to see how they controlled all of the firearm action. One thing I do is post signs when I'm teaching(from firearm manufacturer) red,blue,orange signs that simply say SAFETY WITH FIRE ARMS. They are very effective. I hope I did not offend anyone with my posts. I will refrain now from any discussions about using or carrying firearms. Greg Gross

I agree Michael and Richard I understand your position on guns and thats okay. Richard, I'm a decorated Vietnam veteran,Ranger 1st/16th rangers. I refuse to have myself or my loved ones to be threatened or killed by an armed criminal. I GUARANTEE YOU THAT THE CRIMINAL WILL BE THE VICTIM. In the 14 yrs that I have carried a firearm I have broken leather only twice, one bad guy had a knive and he ran when he saw the gun. The other guy had a baseball bat swinging it at me,when he saw my gun he dropped it and ran. Both guys had a record and both incidences were reported to the H.P.D. and PA State Police. Both bad guys were eventually apprehended and did time. I am sorry as I did not want to waste forum time with all this but felt you deserved explanation. I was really concerned about safety with firearms on the film set and assuring that no live ammunition could be mixed with blanks. Greg Gross

As David just said its the mixed light in a particular scene that gets you into trouble. I try to use white balance creatively at times when shooting digital stills. Unfortunately I will at times experience these color shifts do to the mixed types of lighting in the scene. Sometimes I can achieve a delicate balance right on the edge but often times(more often than not) I cannot achieve my true color as I preceive it,visualize it. I must admit that I really enjoy though trying to achieve the true color I desire. Digital photography has op- ened up the possibilities for achieving the true color desired for the eye of the photographer. Noise and sharpness will humble one also. One approach may be to shoot raw,convert and go for creative color or look in the color space that you work with. Don't forget I can use the same lights that you use on the set to shoot digital stills. Greg Gross

I suggest that you review in American Cinematographer Manual- reflected light readings,incident light readings to help refresh your mind on metering. You can stand at the subject and point the meter at the camera or stand at the camera and point the meter at the subject-IF THE CAMERA IS IN THE SAME LIGHT AS THE SUBJECT(as this will help to expedite shooting under time restraints). Also in order to ex- pedite shooting-YOU CAN METER YOURSELF IF YOU ARE IN THE SAME LIGHT AS THE SUBJECT IS. I am not suggesting that you do this routinely. As your skin is much more different than Angelina Jolie's is. One really learns metering when they start to practice all of its possibilities. You will also become more comfortable with metering. Now your next problem will be when you are unable to meter. Lost your meter, your meter just broke,batteries dead(no spares),your out in the desert,in the shade in a city park,early evening scene,its snowing in Buffalo N.Y.. ???????????? Greg Gross

The Genesis is real pretty with its hard drive sitting on top. I 've been about 8ft. away from one in NYC,never touched it. Never got to look through it,there was a crowd at exhibit,just too many people. I hear and have read that the D-20 is a great camera also. I think the D-20 looks a little congested in photos. Actually the Arri 235 is the one that I would like to play with for a day. I like to take the camera to the subject(action) the Arri 235 seems like a good choice. Greg Gross

I carry a concealed .45 ACP(.45 auto pistol,colt) everyday on my person,loaded. I am firmly aware of gun safety and practice it everyday. As a resident of the state of Pennsylvania(shall issue a permit to carry) I am able to carry and protect myself and others. I often times go into areas of high crime to shoot still photography. I also instruct gun safety and teach a class for women to carry a pistol and pro- tect themselves at my local gun club. I also at times carry a smaller Glock .40 cal. pistol. I have no ex- perience at all with guns on a film set. However I would like to say this- AT NO TIME SHOULD LIVE AMM- UNITION BE IN THE SAME AREA WHERE BLANKS ARE BEING USED. I understand that this has happened a few times in the industry in years past. THERE SHOULD BE NO POSSIBILITY FOR THIS TO HAPPEN. I would imagine that some person is in control on the set(control of all weapons). I hope this would be some- one skilled with weapons and with extensive knowledge of firearms. This person would have to and must eliminate any possibility of live rounds being mixed with blank rounds. This may sound juvenile to some people here on the forum but let me re-assure you that it is not. Some time of audit and control would have to be in place to prevent this. I'm saying this mostly to first time filmmakers who may be shooting firefights in their scenes,productions. PLEASE EXERCISE EXTREME CAUTION WITH FIREARMS. Greg Gross

There is a good polarizer- "Golden Polarizer" that you may find useful for color creativity/effect. Its made by Singh-Ray and gets very expensive by the mm. They custom make them for you,takes some time and they will notify you when they are ready to ship. This is not to take away from anything that Mr. Nash has said as he has my greatest respect. I'm just suggesting this as a creative route with different intensities of light and qualities of light. I'm not suggesting this for a camera that is smearing or having problems producing natural color. Greg Gross Don't forget time of day enters into the picture also. EXT or INT?? 1. Quality of light source 2. Direction of light source 3. Intensity of light source Greg Gross

I think you will find that you will be only a little ahead of the D70S with a D200. Yes, I would direct my cash towards good glass(Nikon prime 300mm f2.8). Greg Gross

You'll have no problem with either camera package so you can make your choice. From a pros standpoint I think Canon will look a little blue,cool(lenses,camera programs). I'm speaking now of digital photography. Nikon will look a little warm. You can argue all day long about which makes best lens,camera. As matter of fact Canon actually broke away from Nikon(they were Nikon) many years ago. When they broke away they just manufactured lenses and then later manfactured their own cameras. I'm actually a Nikon man because thats what I started with. I know my Nikon cameras and lenses well,feel very comfortable with them and I do not fear wrong settings on camera. As a re- sult the Nikon camera,lens is an extension of my eye,my hand. "The Eye of The Photographer. Now having talked about cool,warm look,let me say this; it doesn't matter in the the digital format. When you go to digital post workflow you will be able to vary your color and saturation in your color space. That is the beautiful thing about digital photography. Unfortunately for me I am very obsessed with Canon aso. My only criticism of Canon lenses is that once in a while I will run across a Canon lens that is a little softer than I like. If you are just starting digital still photography I would suggest that you use Photoshop software. If you are doing your own digital workflow you can work in RGB or sRGB. If you use a digital lab you should shoot there colorspace. You will probably find that most professional labs are working in the sRGB color space. I consider the Canon 20D to be a fine digital camera and I use two of them as backups to my Canon EOS-1 D Mark II N. I also use a Canon EOS-1N as a film camera. Today I shot a model in a dept. store with all four Canon cameras. All Canon prime lenses. two kino-flos and some make-up lights from the store's counter top. Had her lean over me so I was shooting up at her. I was lying on the floor shooting up and I had a fan blowing her hair. I'm looking at the shots right now on my number two computer here and I'm making contact sheets with Photoshop CS2. I showed the shots to the agency rep,director on a Sharp 15" monitor with perfect natural color. I also use a Nikon F4S which I think is probably Nikon's best autofocus camera yet(boy will this make them talk) use this camera as a film back-up. I have never cared for the F5. I use a Nikon D2H also and A D70S as a back-up. Both are excell- ent cameras. I shoot with a Hasselblad 501-CM also(Hasselblad primes) and a Linhof 4X5. I rarely use a zoom lens and prefer primes. I take the camera to the subject unless its absolutely impossible to do. I do like the operating method(buttons,method of making settings) of Nikon digital cameras Vs. the Canon cam- eras. Obviously with the digital format you do not have to wait for the film to be processed and for the prints or slides to come back. Having said that let me say- "I LOVE FILM AND WILL ALWAYS LOVE IT". My clients have forced me to shoot digital to stay in the game. Best regards for your search for a digital camera pack- age. As an old pro I would give this advice- do not buy more camera than you need. Happy shooting!!! Greg Gross

Guys, I'm not trying to be a smart ass! But take it from me an old pro. You've got to keep these cameras dry and if you don't it gets expensive. Sorry about your problems and hope they are re- solved soon. Greg Gross

Hey Wendell, How are you doing? I really have enjoyed your posts on the forum. Best regards,wishes for your projects sir. Thank you Mr. Nash for your post on Viper lenses. I wrote Arri today to request info on their D-20. Phil I'm sorry you are muzzled but if you want you can e-mail me at pd170user@yahoo .com. I would like to take the time to say that film will always be first in my mind and always. From a a professional point I'm being forced to go digital still to please my clients or else I have no business. I enjoyed all of your posts. I figured they would go 1080 but wondered if there might be some reason I was unaware of to go 720. Greg Gross

Hello lav, I've got PD-170 manual here and looking up error codes. Error codes are as follows: C:21:00- Self Diagnosis display window C:04: two squares means not using lithium info battery C:21: two squares means moisture codensation has occurred. Remove tape leave camcorder to acclimatize at least 1 hour. C:22: two squares means video heads are dirty. Clean heads. C:31: two squares means problem other than those listed above. C:32: two squares means that you should remove the tape and insert it again. Then operate the camcorder. Disconnect the power cord of the A/C adaptor or remove battery pack. After reconnecting your power source operate the camcorder. C:61: two squares means a malfunction that you cannot service. C:62: two squares means you should contact your Sony dealer and advise them of the 5 digit code. I hope you will be able to resolve your problem lav. Time for a martini shot,see you later. If you have a big problem e-mail me at pd170user@yahoo.com. Greg Gross

Hi mate, Have not seen you on forum recently. I was off forum for a while due too busy with production and still photography. So how is everything down under the dolly? Stephanie will not be back from Philadelphia until tuesday afternoon. I will come back then and post error codes for you right here. Do you want me to e-mail you manual on pdf(if I can get it)? I do not think you have a serious problem with PD-170,hope not!! I'm gearing up to become a digital cinematographer, going to be ready before its really here. Will start working soon on computer system to allow me to do post and edit. We call ourselves Film 7 Productions here. I'm up late now working on a corporate yearly report shoot that I shot yesterday. Used Kino-flos and Canon EOS-1 MarkII,Canon 20D(what a sleeper). Working in digital darkroom now on contact sheets for meeting tomorrow with ad agency rep. . She was my director on the shoot, and it went something like this- "well Greg how should we shoot this?" Actually she was more of a set,costume person than a director. I used all Canon primes and you know I'm really a Nikon man but these Canon lenses are sweet. Sometimes I do find them to be a little soft though when I don't want that look. I'll correct it with light though. My god I hate to put filters over perfectly good glass mate! I always want to control the light and skip the filters. Still film is almost dead here and digital has taken it over. One professional processing lab almost went down here but its now switching to digital services. If you surf forum lav look for post by Phil Rhodes "In Production", he's working with the Thomas Viper in the U.K. . I hope he will continue to post while he's in production. The only still film I'm shooting now is b&w(Kodak) and Fuji velvia and provia. I send the reversal film to Philadelphia or New York. Still do my own b&w by hand and print myself. Using Photoshop CS2 in the dig- ital still lab. lav,as soon as the manual gets back I will post error codes for you. I'll be on the forum the next 3 or 4 days in a row. I miss it and love to read the posts,there are so many good people here. I'm looking at Stephanie's DVX-100A laying here and I'm afraid to pick it up. Its so flimsy and not solid like a Sony,I'm afraid it will fall apart. NO!!!!!!!! I'm just kidding its a damn fine camera. lav,its time for the martini shot! Have you seen Tom Cruise? Mission Impossibel 3. Great performance,huge and he was mag- ificent. Mindel made everything huge on a grand scale. I squirmed in my seat through the whole film, I was moving with the camera. Greg Gross

Can you set a custom white balance with your GL-1,GL-2 ? I 'm not familiar with all specs on Canon dv cameras. Your camera uses what is known as pixel shift. It ex- ceeds the overall quality of camcorders using greater pixels. Light is split in to red, green,blue. Each one of your CCD's handles one color. Green is about 60% of the image detail, red and blue are about 40% each. The green CCD is shifted about 1/2 pixel from the red and blue CCD's. The Green signal is sampled more frequently to extract the maximum image detail from the dv signal. You should be getting natural color and clarity. The pixel shift technology gives you better dynamic range and han- dles bright light sources better. There are 410,000 pixels on each CCD of the GL-2. Canon claims the GL-2 rivals cameras using 680,000 pixels(due pixel shift technology). To start with you should be getting natural color and clarity with your image. Are you getting any smearing? If you are getting a lot of smearing something may be wrong. I know you have an auto white balance on the GL-2. I do not know if it has a manual and custom white balance mode. I think I would start by setting a white balance(white card, white object). Does the camera need cleaned? Greg Gross

Yes, Thank you and I do not know. Could not find anything at web site. Greg Gross

I've never had any problems with my PD-170 at all. I shoot with the standard Sony DV tape and also with Sony DVCAM tape(of course we all know about that,really no big advantage). After 3 yrs of use absolutely no problems. Some of the error codes- IMPORTANT!!!!!!, are only for Sony to fix, correct,etc. . My girlfriend is out right now on a shoot with my PD-170(she has a DVX-100A) but she likes my papa delta 170, can you imagine that? When she gets back in I'll check the error codes in my manual and post on them. I'm sorry but I do not have them all committed to memory. I direct, dp,and operate when I shoot,usually brain is overloaded. Best regards. I think Stephanie likes that sweet PD-170 audio. Greg Gross

Nikon provides a 16mm filmholder for the CoolScan 9000 ED(FH-816). From what I'm looking at on line its only available for 9000 ED. Workflow:1. Choose adapter holder,2. Insert adaptor, 3.Start up Nikon software,4. Insert film holder,5. Select type film,6. View thumbnails,7. Display a preview image,8. Adjust settings, 9. Adjust image quality, 10. Select image to scan, 11. Scan and save images, 12. Eject the film. Cannot find anything about registration with the 16mm film adaptor. Of course you would be using Nikon ED glass. Greg Gross

Hello Phil, I'm looking at the Viper on the Grass Valley web site right now on my number two computer. There is an explanation about the mechanical shutter which they say guarantees no vertical smear. They mention the electronic viewfinder,focus assist tools:crawler and zoom. I am not aware of the camera's capability to accept different lenses. If you're on forum and have time can you please mention the lens or lenses that you are using? Are you shooting at 1080p and 24-25? or 720p 24-25? Congratulations and best regards for your current production work. Greg Gross

Richard, I'm not an expert. I think David Mullen ASC would probably have a good idea about the expense involved. My mind is telling me though, just as expensive or more expensive. Let me say that I love film and it will always be first in my mind. I'm an independent film- maker though and I think digital is going to be my future. I can shoot,post,edit go to dvd and buy my ticket to fly to the film festival. Is that not baring ones soul? Greg Gross Film though in my mind can never have its unique look replaced. I love Chinatown,Broken Flowers,North Fork, Akeelah and the Bee,Lost in Translation, David Lean,Sydney Pollock. Doesn't that say it all? I'm sorry, I forgot John Huston,god bless him.

Hey Phil, This may sound stupid but I never miss a detail in anything I do. Just want to pick your brain. Are the disks wiped perfectly clean or is there any chance of anything being left on disk? I'm gearing up to become a digital cinematographer so I want to know everything I can about everything. If you have time can you comment on the technique they use to wipe the disk. Please keep us posted about using the Viper as you are in production. Best regards for your production work. Greg Goss

Does anybody know if- "The Hairdressers Husband" can be obtained? I've been trying to get it but nobody can locate a distributor. I love how beautifully he lit and photographed women. Focals "Cinematography" has some still shots of "The Hairdressers Husband"and a drawing of the one of the sets and light set up is shown. Hey Wendell have you heard any good Hitchcock stories lately(humorous)? Greg Gross