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Gus Sacks

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Everything posted by Gus Sacks

  1. From what I saw they were Panavised Angeniuex zooms. On for a day in an EPK role.
  2. The 30-105 actually feels more Cooke-y than a 30-80 Rouge would. If it were a 28-76, I'd think it wouldn't be as harsh as a 30-80, but if it's between the two, I'd go with a 30-105. Aluras have that Zeiss-y sharpness. But a 30-105 with some Hollywood Black Magic or Classic Soft alone would do the trick.
  3. It's definitely running water in the foreground. I feel like I've read somewhere how it was done.
  4. I like a program for Mac called Paid! It's been great for the past year.
  5. I assumed it'd be at a sharp angle into the rag - it'll wrap :)
  6. A lot of folks would bounce 10ks or 20ks into fabric, or you could always hang and shoot those units down through fabric.
  7. Hello, Looking for some grip/electric crew working out of the Boston Area. Short film shooting Sat 15-16 on location in Boston, and 17-19 in Cape Cod. Housing provided for Cape Cod portion. In need of Key Grip, BB Grip and BB Electric. Gear coming up from NY with DP and Gaffer. Also looking for a Camera PA. Rates vary depending on position, non-union short film, but not the worst rates ever. Referrals welcome. gus . sacks @ gmail . com Thanks!
  8. How could you tell while wearing those glasses? In the theater I was in, it looked terrible. The requisite darkness, paired with the also requisite desaturated/green spike, made it look pretty terrible. Grey skin tones, flat lighting... If I have to see a 3D movie I take off the glasses from time to time when I know 3D isn't in play. When I did that, I did really enjoy the look. It looked a little overly sharp, but that could have been the projector. I don't understand why DPs don't stick with post until they're striking DCPs or what have you for 3D exhibition. You'd think they'd mandate some kind of a difference in levels or saturation to offset the glasses.
  9. Get DaVinic Resolve Lite and try and learn it in time. It's a little tricky getting started with the workflow, but when you get the hang of it you'll be able to freely (it's a free program) manipulate the LogC footage and render out TIFFs or MOVs, if your machine is fast enough. No idea about Avid - I've poked around with it, but not to really utilize it.
  10. Marque, What Thunderbolt to PCI adapter do you have? Pretty sure the Sonnet Echo XL hasn't come out yet...?
  11. Use a Red Station to dump the footage to the hard drives. Use RedCine-X to view the R3D files. Super simple. There are a ton of different ways to ingest the media, but once it gets to the computer (or you can review the footage off the SSDs), use RedCine-X or Red Cine Pro.
  12. Finally! Finding any Fuji stock in this city has been a nightmare since Media Distributors got rid of all of their film... Welcome!
  13. In the AC article it says Arri 416 with Ultra 16 prime lenses, Vivid 160T and 500T and a lil 7D used for Subway shoots :) Even though I've shot S16 on the Subway a few times, and it looks great :)
  14. That's a bummer. I really liked the work we did with it on a feature last year.
  15. I find something as simple as dialing up Saturation to 1.2 or 1.3 in camera (yeah, I know it's meta-data) has a much, much more pleasing image and skin-tones than if you leave it at 1. I figured out why the first few projects had grey skin-tones once I did...
  16. I've got a few features, shorts, whole bunch of things I'm DPing the rest of the year. My usuals might not be available and I'm just looking to expand my lists. So I'm looking for Gaffers and Key Grips who'll work for the indie 150/day. For Gaffers, experience lighting for film and familiarity with some out of the box lighting ideas and using not exclusively movie lights would be a plus. The rest is pretty much standard 'round these parts. Shooting in NYC and its surrounding areas. Thanks!
  17. Screw IMAX. Check out the Ziegfeld Theatre on 54th Street. Big, big, big theatre and screen, and Iron Man's playing there at the moment.
  18. Copy that - I'll amend my post. Was mistaken with the Flex. Definitely not the same camera.
  19. -_- The RED's listed resolution is 4,520 x 2,540, but you're only going to be able to shoot in either 4.5k 4,480 x 1,920 or 4k 16:9 at 4,096 x 2,304, and you'll have to shoot in RedCode 36 MB/sec. I'd say the Phantom's also a great option, shooting in 4k 16:9 at 4,096 x 2,304. With proven 14 bit depth.
  20. I guess it depends on the situation, but something like Light Grid is nice, or Tough Opal. Something that doesn't cut too much transmission.
  21. Cinema Vision has a great deal of Arri gear, as does CPT. For employment's sake you might want to look at CSC, TCS and Handheld. The other shops have definitely smaller overhead and a more mom-and-pop approach.
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