Gus Sacks

Right?! I don't know if a Classic Soft has ever looked better on HD, either. There were a few moments where it felt like video, and then I could have sworn when (SPOILER?!) Benjamin was in India a few shots looked like film. Just saw the noticable grain and dust. Possibly they didnt have the support for the HD system (I believe they shot most of it on the F23, actually. They started with the Viper then moved on) out there. Either way, yeah, really really liked it. That UBoat scene was better than most war movies.

When I work with this shop Xeno Lights in the city they basically give me all the used gels I can carry out of there... half rolls, full rolls, Rosco, Lee, whatever. So I don't know. I guess having a good relationship with a house that does something like that could be beneficial.

Gotcha. I guess when the sky stops dropping buckets of snow everywhere anything's nicer, haha.

Sounds cool. I shot out in Syracuse a few times... Wonder how the seasons change even further "out" and closer to the water.

Hey Steve, When are you looking to shoot? I still do student productions (I too am 20 years old) that pique my interest. Never been up to Rochester, but I'd entertain the thought :) Gus www.gussacks.com

Slowly prepping two low-budget features and four shorts for the coming new year... Till then shooting concerts (strangely) and waiting on checks from very reputable clients (which worries me a little bit) I ACd and Tech'd for. A little concerned about January, but once that's all over it should be busy and interesting. Nice, Satsuki. Enjoy!

Yeah, that looked preeee-tty bad. I see a lot of that, actually. Really crappy skin tones, especially, from the Red One.

Yeah, great job, Chayse. Looks well crafted.

The answer would be early-May if ordered today. That totally messes up some of my potential plans. Oh well. We will see.

I've seen your posts on the forum over there. Do you think their waiting list extends to mid-February yet? I have a few questions that have yet to be answered by them.

Really, no one? Haha, I know a lot of you are very interested in resolution (echem RED) that no one can actually utilize at this point, and in throwing together your own gigantic, expensive package. But no one's really interested in this camera? A 9,000$ uncompressed possible replacement for the EX and the P2 series that's the size of my forearm and doesn't need lens adapter systems to get a cinematic depth of field using cinema lenses, and no one's discussing it? Weird. Maybe I'm just overly excited about the thing, but it seems like people would be able to distribute their excitement for different HD systems if they were in fact interested.

What format are you shooting on? And if you're looking to correct the fixture I guess it'd mean it was not 3200 - slightly cooler if you want to correct it with 1/8 anything warm... Could you explain the fixture itself better?

Some footage has been posted, and I was referred to this audio interview: http://freshdv.dreamhosters.com/audio/inte...i_interview.mp3 I'm very interested in investing in one of these for the slate I'm looking at next year. Anyone else?

I just went short and simple... and kept myself to the HD side of things... http://www.gussacks.com/resume/Gus%20Sacks...HD%20Resume.pdf Don't know when this was updated, though.

Yeah, the game show stuff certainly looked very clean. But I'm kind of feeling like they didn't use a ton of 35mm. One article said it was about 70-30 SI-2k. City of God was Super-16. I wonder why, if they were going with a 2k sensor they didn't shoot S16 to save costs, and possibly even get a close look? Plus, S16 cameras are obviously smaller. Article on Slumdog Millionaire It appears that they'd used the SI-2k for most of the film. Another Article w/ More Tech Info

I've been a fan of Danny Boyle since Trainspotting, through 28 Days Later, Millions (which is grossly under-rated), and even Sunshine. But this film just takes the cake. It's a real masterpiece. You can feel an artist's hands crafting it (though of course not in a distracting way), and it's a very entertaining fairytale of a film. The cinematography is out of control, in a great way. One wonders how they did it... with all of the locations, the movement, the involvement with crowds and the feeling that you're right in the thick of it and that there isn't a DP, Director and an entire cast and crew involved. Some of the work is some of the most dynamic I've seen on a film of its scale. A lot of great 2nd Unit work, too. My interest also spreads to IMDB, where it lists 35mm and Video as their formats, and the SI-2k as one of their cameras. I could notice a little extra grain in some of the more dimly lit of situations (where I suppose they would have used HD in addition to some handheld work in the thick), but the integration over-all was good. I'll have to see it again to really take a good look - was too engrossed in the film itself, which is good, eh? :) I wonder how much they used the SI camera. Anyone else see it?

Yeah, just to second... be careful of condensation in the lens with temperature changes. Even the lens case (something that an AC of mine did once - put it back in the van for a short period of time...). It happens, but it's best not to have to wait to change a lens.

I don't think anyone said anything about "competition." Films have been Co-DPd in the past (though I haven't seen a recent example of a pure collaboration). My humungous problem with the scenario you've laid out thusfar is just imagining how LONG it would take to shoot this film. If you have the luxury of time and resources I guess you could just sit around and appreciate each other's ideas, but when decisions have to be made (like on most film sets) efficiently and with direction... one man doing the job seems to be the best way to do it.

Yeaaaah, but quoting Janusz Kaminski and Michael doesn't really make any sense in your assessment of the situation. You just have a very European (I'll say) view of the way a Camera Man and a DP should be seperate people. In America, however, that's normally not at all the case. I've seen Operators very involved with productions, but not to where they're making decisions over the DP. I just personally know I wouldn't want to be involved with a whole feature that that would be the case. A short might be a nice experiment, but jeez, what a frustrating experience that would be... Just one man's opinion...

Yeah, it can certainly add up. I believe we got some off because someone knew someone at Goldcrest, but don't quote me :)

Haha, well, John, I've shot a few films and do know the way a Cinematographer or Director of Photography works with a Director, and the decisions they're responsible for making. Some might say it's semantics, and some (like Storaro) believe a Cinematographer and DP are different animals all together... but in the case of the way your original post sounded, it sounded like there was a Camera Operator and a Lighting Cameraman, as in the British system, as Saul referred to above. I guess you just don't understand that most people regard the DP and the Cinematographer as one and the same. I would always welcome a Camera Operator, and they're totally welcome to have discussion with the Director over moves, and their ideas. But when it comes down to it the DP should be a part of the decision making process in terms of what the operator does. Planning the "atmospheric layout," by a decision by committee, while not being a part of the blocking and motion sounds like a recipe for disaster.

John, I still don't understand... You're going to be the Camera Operator doing blocking and movement and you're looking for a 'Lighting Camerman,' in essence? Kind of an odd deal, as far as the Northa American system goes.

Yeah, John's incredible. As is the rest of the team. Yeah, 80 hours sounds about right. Including some compositing and text work done by the Graphic FX guy. Love that Quantel. Incredible.

For a feature we got graded at Gold Crest (with their colorist John Dowdell and the Quantel system), we did 8 days and have two more for some further editing done. So 10 total. 100 minute film. 1080p, 10-bit footage... With a guy who seriously knows his way around that thing.

While I understand owner/operators are a large part of their market, I don't exactly see rental houses being able to keep up with this game... or want to play it, necessarily. With all the different modular pieces, do you really think they'll want to sink 100s of thousands of dollars into everything, so the DP can piece together his own ultra-unique package?