tanner wolfe

i´ve worked with the production company before. they are competent, but also green and a little ignorant of some filmmaking procedures. i´m worried that their ignorance could effect our security while in Iraq. does anyone have any thougths or suggestions. we will be travelling to Iraq in the end of january or the beginning of february. cordially, tanner

so is this an expendable item then? i can't order a 12x12 bobinette rag? tanner

i've never heard of this before. how does it relate to a single or double net? tanner

thanks everyone. your responses were very helpful and helped to shape my to do list. tanner

i will be the key grip on a show shooting for 5 weeks in panama. we will be in the jungle and it will be the end of the rainy season, mid-november. i've never worked in the jungle before and i'm not really sure how to prepare for it. any thoughts? cordially, tanner

i shot in a helicopter earlier this year under similiar conditions. we went hand-held as there was no other choice. our plan was to bring the footage into after-effects and control some of the shake there. the footage still wasn't very smooth even with the work in after-effects. only a few seconds at a time could be used. you will not be able to deliver the smooth shots that you see in films unless you use the proper mount. cordially, tanner

thanks. this reel was shot predominantly on the Panasonic HVX-200. this is the camera of the moment for a certain level of production. the quality of the image is not incredible, but it was an excellent tool for the job we had. no i don't own this camera, but just about everyone i know does.

maybe it was an english thing. i just watched ryan's daughter. Freddie Young, BSC. i think the credit was "photography by." absolutely beautiful. stunning film.

Robert, do you have anymore pictures of car mounts or rigs that you have built. or do you have a web-site. i recently had to build one for the first time. it was a little nerve-racking, but i built a safe mount. the yoga mat idea is a great suggestion. also in the photo you posted was the camera counter-balanced on the other side? tanner

i checked out the link for the bazooka. what use does this fill? is it to quickly and easily pedestal up and down without adjusting three legs on a pair of sticks? it doesn't look very stable. thoughts?

framing chart was not the issue. i simply was distracted by all the negative space outside of 1.85. we moved the frame around in post because of some of the haircuts i gave people. thanks all for your responses. very helpful. tanner

i recently shot a film in the 1:85 aspect ratio. i have shot several 35mm and 16mm pieces prior to this. however, i've spent the last year prior to this most recent film staring into video cameras. i found that my framing suffered because i was not paying close attention to the 1:85 cropping on the ground glass. i was allowing the academy image to distract me into giving people haircuts and so forth. can i easily mask the eyepiece so that i only see the 1:85, 2:35 that i'm shooting? if so, is it advisable to do this? cordially, tanner

were these lights daylight balanced? where do they come in on color tempature. was this light a predominantly b&w era tool?

the india documentary is about the untouchables (dalits) and the caste system in india. the footage you see on my reel is from an initial scouting trip that we took earlier this year. the producing team is using this footage to do fundraising for the actual feature length doc. thanks for your interest.

side weave describes the problem very well.

this is an angency that reps. cinematographers. http://www.nyoffice.net/cinema.html

we did do some high speed work. however, i remember the problem happening on a 24fps shot. i dont' remember if any of the high speed footage was compromised or not. i am anxiously waiting to get a copy of the dailies. i've only seen the footage once and it drives me crazy thinking about it. also, the film was received directly from kodak and thrown into the camera. on monday, i'll talk to the rental house about the magazine. thanks.

i wanted to do a registration test, of course. however the production i was working for gave us no time or budget for that. they did not commit to shooting film until a week before principal photography. this was very, very low-budget and many common procedures were ignored. the issue is on the neg. we made no prints; it went straight to HD. could the registration problem have occurred as a result of a badly loaded mag. or is the mag. itself to blame? i have not contacted the rental house yet. i just saw the problem when i was doing color correction. tanner

we had registration issues with, i believe, some of the footage from our short. i am not sure because the first and last time that i saw the dailies i was feverishly color-correcting them. if the issue is intermittent then it is a magazine or a.c. problem. correct? i used a very reputable camera house out of detroit that i trust. however, my assistant was not a veteran. pls. advise. tanner

i was watching fight club and i decided to imdb Cronenweth. i was curious what he was shooting as of late. there isn't a credit after 2005. i'm curious if he has gone on to new things. does anyone know what he is up to these days?

hello. i've just completed a new cut of documentary work i've done. please have a look and let me know what you think. the navigation on my web-site is currently a little confusing. here's what you do: 1. go to www.tannerwolfe.com 2. choose "reel" my narrative reel will immediately begin playing. 3. choose "India documentary highlights" under the box where my narrative reel will be playing. 4. a fullscreen choice is located under this as well. please let me know what you think in regards to shot selection, music, cut, everything. cordially, tanner

the title says it all. i don't know where to start in this situation and i don't have time or budget to do tests. i want detail in the stained glass. let me know what you think. tanner

i'm using a set of ultra prime lenses on a sr3 (super16.) as these are 35mm lenses will i need to make any accomodations using them on a 16mm camera? will i run into any hidden issues as i have never shot 35mm lenses on a 16mm camera? cordially, tanner

i'm shooting some day exteriors and interiors with a mainly hmi kit. i'm looking for a daylight stock that compares to 7279's contrast range and blacks. i've never shot the 7201 or 7205 and i'd like some input. stop does not matter. i'd rather shoot a slower finer grain film actually. cordially, tanner

i'm looking for a web-site that describes each kodak stock. i've read kodak's description and i'd like information from an objective source. any suggestions beyond this web-site?