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Gus Sacks

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Everything posted by Gus Sacks

  1. I find it interesting that probably millions of people now know what a "Director of Photography" is... Any press is good press; I suppose.
  2. Hey Jake, Don't mean to be rough, but do you know what here cost $10,000 that couldn't have been done for half if not less than that? Gus
  3. I'm guessing there's a PL mount on the camera? Or are the Optars in a different mount?
  4. Hey Scott. It was about 60-70% shot in HD, on the 2k Mini from Silicon Imaging.
  5. I see. Okay, very cool. Thanks for the info.
  6. Finally saw The Reader. It is really a brutally gorgeous film. Menges and Deakins should be very proud of their work. It's clean, appropriate, always well-composed, the movement's pitch perfect, and there's some dusk stuff that's just remarkable. I do believe it deserved the nominations and accolades it has received. I'd recommend a viewing.
  7. If I had the money right now I'd certainly pull the trigger. Sounds like a lovely setup.
  8. I was considering using one of those liquid-burning lanterns for a period piece. Or a few of them. I did a test once and shooting tungsten it was awfully hard on the red spectrum. How much color correction was necessary to use them? And exposure wise the use of them looks pretty good. Hmm. Might use them now, seeing them in a practical usage.
  9. Ken, I read your reply to my post and I figured you were aware of most of it. I unfortunately didn't give it a thumbs up, haha. Best, Gus
  10. Nice, Rod. I really dig this type of stuff. If I'm doing music it's mostly live concerts in venues where I have limited control over the elements, and I'm glad you took advantage and lit the space just enough. I like the warm tones. I like the angles and the long-lens work. I even like the little keyframe zooms and pans. Good idea.
  11. I believe the film version would have just a bit more latitude than you have it there. By the contrast it looks like a little skip bleach was done to it. Not that I dislike it...
  12. Hey Ken, I checked it out. From a purely cinematographic standpoint, irrespective of the acting or dialogue, I have to say the lighting gave it a really flat and sourcey look that basically took me out of the movie. I understand you had a non-existant GE crew, but just using soft sources, especially with a very high-resolution camera, and at angles that aren't motivated were a great distraction to me. Some of the framing and blocking seemed hurried (although I get this was a 72 hour affair). The shot with the actor on the front of the dolly was interesting, but if you wanted it to look like he was walking, you should have had him move up and down at least a little bit to simulate stepping. If that wasnt' the intended look, then I spose you did it correctly. The editing speed ramp at the end was also not groovy. I just feel like it's projects like this that really don't need to be shot in 4k and exhibited as such. Why not use your resources on a crew and some more selective units and a camera that won't make your mistakes so obvious. But, again, I understand you had a limited amount of time to do this, and I feel like I'm also just venting my frustrations about RED productions that seemingly don't need to be shot on such an expensive, high-resolution format. But, Ken, if this is too harsh, or you disagee, let's talk about it. I don't do many critiques (for obvious reasons, hah), but I would like to hear what you think. I know you're a professional, but I think the resources constrained you a bit. But that doesn't mean I didn't find errors in the work. - Gus
  13. Great, let me know. I could even recommend other crew if you needed some.
  14. Congrats, Sing. Very, very cool. Were you working with Shooters? Andrew, if you're shooting in PA and need an Op or anything, lemme know. I have family down there so I work there from time to time.
  15. A mostly HD project winning Best Cinematography would certainly scrap Kodak's mantra of every winning film since the dawn of mankind has been shot on film... I have to say, it's kinda disappointing a film like The Fall or Revolutionary Road werent picked. But all deserving nonetheless.
  16. or Fisher 10. More times than not with the 10.
  17. I've done this a few times with a Fisher 11, Off-set (3 ft normally), RO, and a 2-axis head like a Weaver Steadman. If you need to go higher, the Risers work. Just needs a little finagling, but it works.
  18. I pushed 7219 a stop and rated it at 640 (with an 85) and I think the production was considering adding grain in post! They did not, fortunately.
  19. Yeah, true. I think one Critics circle bit on The Fall, but very few else.
  20. I don't know if this is what you're looking for, but when I operate I normally do all of the movement and absorb most of the shakiness caused by walking, etc with my shoulders, as opposed to my forearms, hands, etc. It especially works with cameras that you have to kind of press and cradle into your shoulder...
  21. I don't know. I kinda dug the look of the trailer. Might encourage me to see it.
  22. A DP my preferred 1st AC works for from time to time will keep a left hand grip on his rods at all times so he can hold onto the handle with his right hand and left on the grip. I did it once for a whip pan; it was comfy.
  23. Yeah. That's certainly tricky just keying from a fire. The problem wouldn't be seeing their eyes (youd get something in there and a nice reflection in the eyes), but seperating them from the background will be an issue if you're not lighting the forest, unless he's fairly close to the fire. Even having him on the ground might be helpful.
  24. Hey Kevin. What color ski masks will this be? If they're any kind of dark color, they'll more than likely blend into the background and you'll be left with two headless bodies. You'll need to over-light their faces in that case. If that is the case.
  25. Hmm, how come? It seems that a Super16mm, PL-Mount camera that can hold 400' mags would be worth quite a bit. With a lens... What am I missing? I know the Eclairs are a little unwieldy, but...?
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