Gus Sacks

Please go away. This thread's been hijacked by your incredibly idiotic commentary. Someone could have actually learned something instead.

Nope you're still wrong.

Not exactly homemade glass - Otto Nemenz put the set together with front element-less lenses and plus diopters. It certainly wasn't a post-effect, Thomas. I don't know where you get your info from, but it seems like you're talking out of your ass 99% of the time you post here... Also, the later builds have Anamorphic support for the desqueezing in monitoring.

I typically use a 2575 or a 2060 O'Connor. Otherwise maybe a Panther head is a viable option? Or a 7+7 would work, as was mentioned.

Similarly with Alexander the Great... Oliver Stone's film got made and Baz Luhrman's didn't.

It was P2 something or other. I'm going to guessssss HVX with the Mini-35 adapter.

Seth, I'll purchase it for $150 without the hassle of an EBay sale ;)

Footage looks fine. I don't still understand how one could actually shoot a long form project with such a low compression rate and large files. Maybe that isn't the point... Eyepiece looks a little uncomfortable on the neck with the rig.

Harrison Tent sold.

Hey all, I was just doing some fall inventory and would like to sell off a few items maybe you'd be interested in... 1. CineBags Production Bag - used lightly - sells for $210, asking $100 2. Harrison Film Changing Tent and Mag Tape - used very sparingly - sells for $250, asking $125 3. Fostex MR8 Recorder w/Mic, XLR Cable and CF Card - used lightly - sells for $250, asking $125 4. Slik 400D Tripod for stills- used often a while ago - sells for $150, asking $75 Contact me for more photos and/or to purchase with a PM or gus.sacks@gmail.com Buyer pays shipping. Thanks!

Sent an email. Thanksya.

Sample from a feature. Obviously everyone does it differently. M2MShotList826.pdf

Rob, where did you get your camera/drives from? I had that problem both days on a video I was doing last week and it was a major bummer. We tried differen drive cables, no luck, and deemed it was the drives' problems - especially when we were doing over-cranking... Let me know, because it's a really annoying problem.

I've shot S16 with the S4s. They still look very pretty :) As far as Ultra 16s, only CSC has them in the city and they aren't very cheap at the end of the day...

To possibly be a bit contrary to Annie, I would say it is possible to make ends meet and make your way working in Camera Depts in this city if you're just willing to start from scratch and diversify your business enough to where until you're where you want to be, it's best to be able to work in a variety of formats, job titles, and with as many people as possible. I started while I was in school ACing for free, and as a few months went on began picking up paid work, and trying to do as many roles as I could... so now I DP and AC and Camera Operate, blah blah blah, for as many companies and filmmakers as I can. Someday I won't have to work 50 jobs a year to make what I need to pay the bills, but until then I don't mind it ;)

Typically no, for aesthetic purposes I was usually throwing in some ND or a Pola. But nope, didn't see anything.

Hal, I shot a feature with them and they look great. Not even the 18 had any issues.

I feel like what was said is certainly part of it. I also feel like it could be as simple as when you see light come through a window, there's a natural topper on it via the window frame. Or a light coming through a door frame in your house... It's natural for light not to just fly into the ceiling, aside from a few particular circumstances.

I really enjoyed it. I had a feeling the colors had to do with the locations and sometimes the times of day the footage was shot at - it was colored at Goldcrest in NY, in some very, very capable hands. So I feel like it was purposeful, and it looked great to me. I actually enjoyed the grain for the most part :)

Gee, I think they should get their panties unbunched or possibly find something more interesting to gripe about if that's the convo going on at the truck at lunch :rolleyes: "Striking, watch your eyes" is something I prefer my guys to say even if it's just a Tweenie on a small set where perhaps the director, talent, or honestly any other departments are nearby. Better that than someone catching a spike into the fresnel lens.

Hey Aileen Taylor :) This wouldn't be for Skip would it? Small world if so. Either way, if it's an MOS shoot, 24fps would be great. Typically we'll just do 23.98fps for sync sound. I'm going to say it's pretty much insignificant, that minor a difference, as far as recording time... Good luck.

Mmm, Fuji + Hawk Anamorphics... Looks great.

I actually wasn't speaking of those scenes. Those actually looked really great for focus - I was especially taking a look at those. I'm talking about I think later in the film that were just simply static shots. Kinda strange. I saw it at the Ziegfeld though, and I doubt it had anything to do with the projector or what have you.

I unfortunately noticed some shots that were just out of focus. 99% of the film had wonderful use of depth of field and spot on focus, but once in a while a medium or a close-up would appear to be focused on a foreground element that seemed off... Buuut don't get me wrong, it, for the most part, was one of the best lit, beautifully pieced together films I've seen in a while in theaters. Robert Richardson's a master - no doubt about it.

It was shot on the D20. The DP's name is Seamus Tierney. I could drop him a line and ask where they did the post coloring.