Gus Sacks

Best case scenario it shouldn't be a "versus" situation...

Are you referring to the photo of the HVX? Or the Pace 3D, is the one with all the cables.

Yep, left it on for the full run of it the other day. Really funny.

Being that all of those scenes took place in CG environments, I didn't necessarily look at it that way. But they were very photorealistic effects. Maybe you could see the movie before you run me through the ringer over trivial wording. This features both. Not in their finest moments, but there ya go.

What's the issue? The CGI fire and water elements looked great.

The water and fire elements looked absolutely unbelievable. Specific moments I could name that might otherwise be spoilers, that involve fire and explosions, all looked stunning. Yeah, wooden acting for the most part... typical story. But there were some very compelling moments, and yes, I did think the lead Na'Vi Catwoman was very attractive. Some of those close-ups looked extraordinary. But, some of those wide shots looked... eh.

I like Elf! I'm seeing Avatar tonight at midnight in 3D IMAX. We'll see how it goes...

Saw the film listed as playing at Slamdance. Congrats on that as well.

Congrats to you, Eric. Two Golden Globe nominated films in the same year? That's some Robert Elswit-type acheivement you got there. :D

In general, working in small spaces tend to have a lack of foreground and background elements to work with to make compositions that aren't inherently flat. Handheld might allow you the opportunity to squeeze back into some tight spots to create some seperation.

I agree on most accounts, unfortunately including the color shift (I only really noticed one major one in the 1st reel). It was jarring and took me out of the film at that point for a few minutes. I wonder what caused it.

I say it was good practice :rolleyes:

Shooting 4k HD gives you less of a pixel count than 4k 2:1 or 4k 16:9. 4K 16:9 (4096x2304), 4K 2:1 (4096x2048), 4K HD (3840x2160), 4K ANA (2816x2304) At the end of the day, to crop a 2.40:1 image, you'll have to lose resolution... If you're shooting spherical, I'd just shoot 4k 16:9, and just keep as much horizontal resolution as you can.

Hey Richard, Again, it's more of a good faith thing than a hard and fast obligation. As it even says that whole traspo/per diem situation is a 'good faith' agreement. These past few features have all been local to NY and it's been basically agreed from the start I'd be involved in post-production, because the raw workflows and even the way we shot it, concerning looks, etc, is going to require my assistance regardless. The last feature I timed I wasn't there for 5 of the 7 days because of work, but at least I was given the offer and was there for the final, final last say days, and was involved in the process via discussion with the directors and colorist. So, as I said, it's a good faith thing, and if the contract needs to be reviewed when all's said and done before the process that's not completely unheard of. Best, Gus

Are you referencing my post? I think 'required' is perfectly acceptable. I'd very much like to be there to do it. It's my right of first refusal. I don't think it needs to be spelled out as much, however. 'Entitled' leaves a bit of room for interpretation.

My agent's been making sure something like this is in my deal memo... "Gus Sacks shall receive prior notice, and be required to be present for the color timing and videotape transfer of “---”. If color timing takes place outside of the greater New York area, then Signatory shall provide transportation, accommodations, and per diem, to be negotiated in Good Faith."

So tempting.

You can use a Double (typically red ringed) scrim to knock a unit down a stop. So a 650w would technically turn into a 325w. A sheet would diffuse, but also would cut down on the transmission of the light. An article in the ASC Mag recently described a production in Egypt using window screens in place of scrims.

Yes! And I get them for every job I possibly can, shooting film of large-sensor HD... I've used the S2/3 Speed Panchros at 2.3, and while they're very pretty lenses, when I used the Super Speeds again after them it was nice to have that extra stop sometimes, especially shooting on the RED @ 320 right now. 800 will be plenty nice, but until then... Marque, I still get Supers and set of 6 Speed Panchros rented to me at $350/$400... But I understand demand.

Two potentially helpful things... I produced/DPd a short about a year and a half ago. It was a 3 day affair, $17,000. And I made the mistake of also producing while shooting and not being able to dump off those responsiblities to someone else while doing the creative aspect of DPing. If you're going to do that you should bring in a Production Manager who's comfortable with shouldering all of that during Production. Also, I don't know if a 2mil budget would raise too too much interest as far as the Union would be concerned. Especially if you're shooting during a busy time of year when all hands are already working.

As has been said, these look great. I recall the last feature you all just used clip lights. I'm guessing this changed, or am I mistaken? Also, is it 2 DPs working on this? Your site seems to suggest that. How does that process work? I'm intrigued :D

Thanks, Dave. Fostex sold as well. Cinebag and Slik Tripod still available.

Phil, I don't know what they teach there, but when I used to (and still have the proficiency to) data manage, it involved drag-and-drops and backups, yes, but for jobs that require it (which the good ones do), I'd also generate notes and spreadsheets for editorial, do checksum operations on the cards, and obviously troubleshoot any issues that might arise. While also being able to playback for production if necessary, it can be time consuming, not to mention doing it for A, B and C cameras at times.

Quarantine was one.

Well that is certainly awesome. Don't count yourself out, yet. A nomination's a big deal. Best of luck with that and everything.