Gus Sacks

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

http://www.imdb.com/media/rm1315868160/tt0499549

 

Thanks.

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.

So you couldn't distinguish it from real fire and water ?

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

:huh:

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

One of the best photorealistic shots from my point of view is the one where Jake has that chase with the deadly animal and jumps off the mountain into the water, as he's getting out at that point, the water looks unbelievably real. The amount of money put into all that rendering (as well as all the plant life and movements etc.) would be absolutely tremendous.

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.

All i'm going to say is that they were giving away tickets to Avatar this morning on the news... and in my experience, this doesn't bode well for the film as the last time they gave away tickets (this news channel) was for Elf...

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 Jason and the actors of UP IN THE AIR on the 6 Golden Globe nominations!

 

Also very proud of everyone on 500 DAYS OF SUMMER which also got nominated for Best Picture, Comedy/Musical.

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.

Just saw this film and was very impressed. Finally a post-apocalyptic film that isn't driven by superfluous visual effects, zombies, or an unrealistic story structure. The cinematography was hauntingly beautiful, subtle, and heavily complimented by set design/location and (tasteful) desaturated color grading. No cheesy performances either, Viggo Mortensen (The Man) and Kodi Smit-McPhee (The Boy) managed to convey a deep and realistic father-son relationship. The adaptation to McCarthy's novel was pretty faithful as well, minus a few flashblacks (probably to give Charlize Theron more screen time). The overly sentimental soundtrack also could have been cut out entirely; we don't need to be told how to feel in an environment so bleak. A great film overall.

 

Another interesting thing to note was that, during some reel changes (noticeably the first and second), the color correction (in the same scene) dramatically changed. Not sure if it was a projector issue or perhaps a lab error, like using bad or over-used chemicals when making the release prints? Any thoughts?

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.

When that happens I always say they were just kidding.

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.

And Gus....Wow! I could never agree to terms like that. If you have people that will sign a contract like that, then good for you. So if I hired you as a DOP I have to fly you to Toronto for cc?

 

And the question was asked in another post, if you are booked on a shoot for eight weeks right when the final colour correction is about to start, what then? Then the entire production is held up for eight weeks while they wait for you?

 

Just curious.

 

R,

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

I think you mean to say 'entitled' to be present.

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.

BTW do you know many good focus pullers that can reliably pull focus much wider than T2.8?

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.

Cloverfield had the same aesthetic and story telling device (found camcorder footage), it also had studio support from the get-go. I think can think of a few others, but I'm not sure how well they've done financially.

Quarantine was one.

On the good side, I just learned I've been nominated for the ASC's heritage award! I won't say for which film, in case anyone on this board is judging. I've wanted it for a long time, and it was nice timing to get this good news when I did. Granted, I don't have a prayer going up against the big guys from NYU and the Californias, but at least it's a nice addition to the resume.

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