Gus Sacks

I don't know if you're implying that I don't crew on projects, or that you're directing your crap to filmmakers a position like my own. If a "kid" were to graduate school (which I did not; I was too busy crewing and shooting) and started calling himself or herself a DP, and they had no reel to show for it, no resume, and no talent... then I would assume they would fail, or generally not do well. If they did get any sort of job, lacking anything but a title. I actually dislike the rare DP who's been around for 20 years who call themselves DPs who've got a really crappy reel and resume, but because they've been around forever continue to work and probably own some gear. Let people fail if they haven't put the time and commitment in to succeed. As far as those who 'choose' not to crew; I really don't know anyone like that personally, except a few who don't have to.

I personally don't think any of these guys are really saying anything interesting or insightful. And what the hell is a guy like Joe Stunzi doing on a "panel" like this?

I'm pretty sure he was referring to rampant under-exposure, which I suppose is bad science, especially for the early 70s, right? What does using available light have anything to do with technical expertise or not? I was speaking with a guy who's been around quite a long time, and was looking at my work, and a particular shot that was absolutely lit all with available light, and he said "even if god lit it, it's still your work, and it looks great." I think using available light to make a scene look good is harder than if you have 6 12ks on the truck... And, yes, Slumdog lit a ton with available light. So Did The Wrestler, that won the Indie Spirit Cine Award.

Slumdog Millionaire won. I believe the film most shot on HD to win Best Cinematography. Maybe a trend we'll see increasing in coming years.

I did that once. It was such a quick production it didn't offer tons of time to learn from the DP aside from checking the monitor and bothering the Gaffer from time to time. It was a lot of running gear around, but the 2nd on the job started having me, like, do camera reports and sweep out the truck... and do other things that, frankly, were his job when he was just being lazy. Anyway, yeah, it'd be good for someone looking to get in the door.

Hey Jason, It's not nearly as grainy as you make it out to be. I dig the Rushmore influence, and I think you did a mostly good job of matching it so it's less an homage and more a reproduction. I'm not entirely sure it works for the song itself, but, hey, it works in general. I would have personally liked a little more out of the performance sequences, or less of it and more of the story side of things, but, again, good job, man.

Dan, you seem to misconstrue someone disagreeing with you as someone not getting what you're saying. That wasn't really the case... You basically said that using the name DoP wasn't to be used without some experience, respect, and heft behind someone's career.

A few things... Earning the respect of Electricians, ACs, even DPs one works for doesn't necessarily get you jobs, a good demo reel, or the respect of Directors or Producers that might hire you. I've never ACd for a project, and met someone who went on to give me a job in a narrative setting (commercial, network productions - yes - but that's a different arena). In fact, Loading, then ACing, or Electrician, then Gaffing, seems like just more of a 10 year trap than a way of working up the ladder, and that's not something I'd like to personally chance - especially in the Union. Also, even on student productions, or no-budget projects, there is a DP. Regardless of what you say, there's a call sheet with DP next to it, material that's derived from it, and a demo reel that's built. Before I started paying the bills as a DP, I did, in fact call myself a DP. Because you can't just jump from 0-100 without starting at 20 or 25. Know what I mean? Sing, I had this happen on a much, much larger production, but the directors vouched for me, and it even seems now that it's been almost a marketing tool for the producer in question for the film because it looks so good and was shot by someone so young... Whatever helps them sleep at night...

I don't love DuAll sometimes... Arri CSC, TCS Film, CPT Rentals, Cinema Vision, for an SRIII package.

WHEW! You certainly got touchy on my behalf... It's a pleasure, Marque. I think I should have gone for a more technical thing. I'll keep thinking.

Yeah, how much time/energy/people went into that? My friends and I debated it when it came out.

Probably to do something like boom up handheld in a straight line?

Yeah, that or just say you should get to set a little earlier and go over things. I wouldn't hesitate to be very direct about it, either. Just don't be condescending, or at least in a way they might think you're being that way. If people are working for free and they're new and not completely into it they don't typically have the thickest of skins and get kinda wimpy and sluggish if you're hard on them. Meh. Also, with backing up, etc... It's their project, unfortunately... so if they don't want to backup then it's their funeral.

Push processing 7219 doesn't really bring noticable grain. I'd recommend at least pushing it two stops if you really want to see a lot of grain, or shooting 7218, which is grainier than 7219.

http://www.iatse411.ca/downloads/IATSE%20L...202007-2009.pdf from another thread on the boards.

Hey Kieran, Kind of you to ask. It went very well, actually. Got a few very nice compliments, and it was nice to see some of the boys again. Thanks for asking!

It's been pretty awful in NY for myself and the Non-Union people I work with. So, since the calls are lacking I still try Craigslist, Mandy, IMDBPro... Works once in a while. Also keeping up with directors I have a feeling are going into pre-pro soon helps.

I think it's also a way of working. Some people like zooms because they're quick, easy to adjust frames... But some others, like me, prefer to pick a lens and set a frame and work from there. I think to me it's a starting point to work from. Like taking a breath and sitting down and taking a second to evaluate your decisions.

Double post.

Nevermind, didn't think this would be all that big of a hit, hah...

killed IMDb

IMDB Looks like he's shooting movies! :)

Color me stupid and/or ignorant, but since when are church videos shot on F900s? Last I remember it was GL2s and VX1000s... Anyway, I think if you'd keyed from the top, rather than the bottom, it would have been more effective. Seeing the source of the light on the floor was a little sourcey of course, but the backlight look was nice for the most part.

Hey, I don't know if this is normally done, but a feature I shot last year is having a screening Friday night, and I know there were a few people interested in the HPX3000 and possibly the film itself if you caught a whiff of it on the boards. Here's some screencaps to check out: http://flickr.com/photos/34984275@N03/sets...57613324630220/ Just PM me if you're interested. I've got + a few. Small projection, though. Don't want anyone to expect a 30 foot screen ;)

From the most recent ASC Mag article on The Curious Case of Benjamin Button: So, of course it is done, and even people with I'm sure unlimited resources turn to doing it. Just an example when it worked.