Michael Palm

I'm trying to find a B4 to PL Mount Adapter.

What I am trying to do is put prime lenses on Viper. Any other suggestions?

Possible rental in the Kansas City area would be perfect.

Hello all,

I am doing a research paper on Adam Greenberg, ASC. Does anyone have any information I could use?

There Will Be Blood

enough said.

I personally hate the way cinéma vérité, reality TV, ect. have impacted the industry. It disgusts me to see so much senseless handheld. Handheld used to be employed to create tension, now you see entire movies shot that way. Why? Because it feels ?natural?? ?Real??

 

Nonsense. It?s only adding to the fact that the general public simply does not care about excellent images. The average Joe sees hardly any difference now between what he watches in the theater and what he watches on Youtube.

 

Sorry if I?m offending anyone, and I?m in a hurry so I don?t think I?m making myself clear? but, seriously folks. Get a dolly. Get a crane. Get a Steadicam. Get some sticks.

It always comes down to the story.

Thanks.

Yeah just keep bumping the fps on the light meter and it should get into shutter speeds.

Here are some examples of silhoettes each exposed differently. This selection is from my own 35mm still photography. I used a

Minolta XD11 w/ Minolta lenses. I shot with 400 asa Kodak film and exposed each shot differently.

Blain Brown has a DVD in Motion Picture and Video Lighting (2nd Edition) which has a great section on basic grip tips & tricks.

Put the words "Director of Photography" or "Cinematographer" under your name.

It gets the point across.

Well, that bit's easy. I have that bit in the broom cupboard here (again... full HD uncompressed recorder hanging around... anyone who wants it for a while, call me...).

 

What's tough is backing it all up onto tape/whatever. Do you know what they did?

 

Phil

Backed up onto portable HardDrives from the computer. We backed everything up over night. We also recorded to tape as well on the third episode shoot.

http://www.kansascity.com/238/story/371693.html

This should explain more.

The workflow is very unique. You may find this interesting:

From my knowledge Richard Welnowski owns the Viper and his mobile setup. The camera is connected to his Ford Explorer!

The mobile setup is equipped with dual HD monitors, one for viewing content and the other for controlling DVS Clipster. Clipster is the software he uses to log and capture all the footage, which is ran on his super computer. I forget exactly how many TB he has on his harddrive. But it takes a lot of space to hold all the footage.

We recorded at 1080p uncompressed and 4:2:2 for editing.

Check out "Day Under Fire"

Nov. 27th 2007 10pm EST on National Geographic Channel

Most footage was shot on VIPER (2nd Unit shot with CineAlta). I worked as AC. If you have any questions, I will be happy to answer.

Thanks.

Did you check their web site? http://www.fullsail.com/flash/index.cfm?degree=film

I looked at Full Sail before I went to college. I decided to go to school at Savannah College of Art and Design. It's four years here with a bachelors degree. I think Full Sail is 2 years.

Make sure you go where you can enjoy living.

How is the viper to work with, anyway? I've never had the chance to even ahve my hands on one.

I really enjoyed my time working with the Viper. Check out "Day Under Fire" on National Geographic. It airs 10/27/07 at 10p E. All footage shot in HD, most of it is Viper.

I went to the maine AC workshop but somebody else paid for it. I think you can learn everything you need about ACing by doing it and reading.

I agree. I preparred myself for my first AC job by reading about the job and knowing the camera that I will be working with.

We were shooting on Viper and I read the manual before going out on the field... just so I had all the kinks worked out in my head.

I am still in film school, but I'm also working in the industry and building a resume now.

I feel like at this level and age (19) it's best to finish school and work during the breaks. Has anyone else been in the same boat? Any advice?

I think we need to clarify the time and type of job here and how it changes things.

 

If it's an indie feature that's shooting for a month or so, outside of LA, $150 is something to expect I think. A feature means solid work for a month, a commercial means work for a couple of days then maybe three weeks of no work!? I'd rather take $150 a day for that long than $300 a day for two days.

 

Personal examples: I was paid $600 to gaff for two days on an industrial once. I was soon after paid $1500 total to DP a 24p feature that went on for over three weeks, plus I got food and a hotel room.

Yeah I agree.

I also feel like filming longer shoots makes life a little more interesting.

The demo reel feels like you tried to add every project you've done, rather than display your talent as a DP.

Keep in mind this is your "portfolio" reel.

But from what I see, your work is impressive. I would like to see it if you re-edit it.

Now this looks handy...

From my research:

Paymaster suggests:$37.87 per hour (for daily, LA)

I found shooting with a Kansas City area production company the rate is cheaper.

This makes sense when you realize the cost of living in KC is half of what LA is.

I have to say Viper really is monstrously simple to use.

 

In "serious" mode there's only about four switches that are actually active.

 

Phil

I agree. I'm not out of college yet and I've spent 10+ shooting days as AC with the Viper. I understand it more than most prosumer cameras sometimes. :unsure:

If protecting from the sun...

I've always kept the camera in the shade with an umbrella. This past weekend the midwest was hit with intense heat, that umbrella worked really well.

Marc-

Whats the date for this?

Apply what you do in this to another story.

Because this story felt non-existant.

You have the eye for composition, lighting, and movement. Use it with a story that matches your skill.

Thanks.