Daniel Garee

Some of my favorite beards from behind the camera.

I'm in preproduction on a short being shot in Columbus, Ohio in a few weeks. We're shooting on 7230 with an SRII. I toyed with the idea of shooting anamorphic but I really didn't want to bother with the 2x squeeze on 16mm and we can get the Hawk 1.3x anamorphics. So, cropping the Super16mm during the 2K scan seems like the way to go. I've looked but have not found a 2.40:1(or 2.35:1) ground glass for the Arriflex SRII. Does it exist? I know of the masking tape method but have ruled that out. Any input would be amazing and as always I appreciate everyone on this forum. Cheers

Thanks so much for all the advice.

That was one of the funniest responses I've read ever. Dan Garee

I'm 26 and have a few credits under my name. The last as camera operator for a feature shot on the RED. Now I'm planning to move to LA to try and launch a career there but was wondering if a purchasing a camera package would be beneficial before I headed there. I'm still learning mind you and need to find more projects to improve my lighting but cameras and exposure I'm quite comfortable with. 35mm and 16mm are my preferred formats but it seems so many producers want digital. Should I even invest in a system or is putting that money (I obviously don't have much) into something else a better idea? Any comments I know will be helpful. Thanks so much. Dan

Thanks Michael, I agree that color timing will be the most direct route to my goal, but I'm still a bit worried of the skin tones. A bit on the cool side is fine, it actually works with the story quite well, but warm or pinkish skin tones would be a bust. I forgot to mention that I'm using 5218 (Vision2 500T) for interiors and night exteriors and 5205 (Vision2 250D) for day exteriors. I'm not sure how much of a difference these two stocks might have on the final image after processing and color timing. Thinks, Daniel Garee

I'm shooting a 35mm short this week and I'm toying with the idea of choosing a few key colors, keeping them vibrant, then de-saturating the rest. The story is on the romantic comedy side of the genres with a couple of day exteriors and the rest night interiors. So far I'm playing with overexposing certain colors and actors by 1/2 a stop to a full stop. Or by highlighting these colors through like colored gels. I'm a bit weary of the gel route because of availability and I'm worried it will turn out looking like an 80's blue and red gelled teen movie. If anyone has any suggestions or experiences they could share I would be most grateful. I hope this all made sense. I'm still new to the whole forum thing. As always thank you, Daniel Garee

Thanks David, We were hoping to go through a 4k, but it was totally out of the budget. The 2k was what we were planning and it should be nice. Do you know if the 6k has come out yet? Thanks, Dan Garee

Hello everyone, This is mine first posting on a forum so I hope I don't sound too silly. I have a short coming up and I'm shooting 7217 outdoors, full frame aspect ration. I was wondering if anyone knew when you scan for widescreen(1.66 or 1.85) does the scanner scan the whole frame then crops the desired aspect ratio, or if you can single out the widscreen ratio to achieve higher resolution? The second thing is that I'm shooting this entirely outdoors, a stop over exposed (to be dropped in the telecine suite) and in heavily wooded areas with some river shots. Any suggestions or recommendations would be greatly appreciated. Thanks for everything, Daniel Garee