Andrew Brinkhaus

Whoah! Looks good, but needs to be deinterlaced!

Todd, this was all shot on Zeiss Superspeeds. Should have some clips coming within the next few weeks.

I definitely will.

Actually, I thought the shot as a whole looked great, just the two key lights on the actors were from different sides between the two shots. (I am referring to the yellow kickers.)

I have a question... (which makes more sense to ask here, than to start a new topic for.) There is a scene in Solstice, where two characters are positioned on the patio, while one of the main characters is cooking on the barbeque. In the DVD release, the male's key (the warm sunlight) is hitting him on his left side, but in the reversal of the female, she is being lit from the opposite side, her left. Was this shot this way, or was the frame flipped in post to correct an eye-line, or something similar?

I also had commented about trying to find affordable speed cranks in another thread, where the only place we could find them was Filmtools, for $80. I should've thought to look at indifocus, it's a great affordable company. I will probably grab an 18" whip here in a day or so. Thanks again for the link Chris.

Also what makes this more difficult to equate, is that every adapter system is built in a different process, with different levels of clarity and size to the GG. Calculating ones adapters' CoC could be worthless for another's.

This should do it, it's a short film I worked on a while back called "Wish" shot on the DVX. -About half way down on the right. http://profile.myspace.com/index.cfm?fusea...iendid=55192987

Yeah, it seems like an agent would make sense about now, though gigs this large don't seem to come by too often. I realize I have a lot to learn in the business end of the industry, but experiences like this will help boost that knowledge. Sorry about the typo, I did mean expenses, not expendables. I'm so used to using that word as an AC. At any rate, thanks for the help, I have a great place to start now in negotiation with the production.

Recalculated my rates for this budget, and I'm looking at somewhere between $600-$700/day.

I have just been offered to shoot a film in Oslo, Norway this Fall. The budget for the film is 2 million, and they asked about my rates. Because I am not a part of any union, or Cinematographers organization, I resort to calculating my rates based on the production's budget, here it would be $350 a day for a 40 day principle shoot schedule in August, and a 2 week previz shoot in July. Because I am coming from the U.S, what expendables should I make sure the production covers? Obviously housing, transportation, ticket prices, etc? This is the first time I've worked on a budget large enough to dictate needing paperwork, insurance, etc. I am unsure how to approach this, in order to secure my payment, and safety while shooting. What (if any) insurance would I need? Or would that be covered by the Production Co.? Should I simply send them a deal memo, and use that as the legal document of my being hired? Sorry for all the questions, but this is my first time overseas, shooting such a big project. Thanks in advance.

Apparently the 1st AC just got dropped, something came up, so I am moving up to fill in his position. I will communicate a simple system based off of you guys' comments to the 2nd. Thanks again.

Thanks Alex. Definitely answered my question, thanks for being specific and including details.

Yeah, I am familiar with that Brad, though it doesn't really apply, as I wont be using a sync-slate. Really my only worry was a good workflow for marking 2 cameras with one slate, so that in editorial they could easily decipher between the two for all setups. Would it make sense to just mark both cameras at once with common sticks? Or re slate each camera individually with its own shot info...Seems like that would burn a lot of film waiting for B' Cam to get slated.

Yeah, maybe it is just that easy, and I'm over analyzing.

Will be 2nd'ing on a 2 camera, 35mm music video Wednesday, and was thinking about some prep stuff when I came across something I wasn't entirely sure about. While slating, how should I mark the rolls between A' and B' cameras? (as I am going to be the only clapper on set.) I'm just not sure how to mark shots, as well as roll info for each camera on one slate, unless it's just common sticks. As of right now, A' Camera will be mags 1, 2, 3 and B' Camera will be mags 4, 5, 6. I will then lend "A" to A' Camera, and "B" to B' Camera, so the roll would say A3 to indicate A' Camera, 3rd mag. (this works because we won't be loading any new magazines during the day, if we did, it would just continue upwards, "B9, B10" etc.) However, this still leaves me unsure about how to mark and properly identify two cameras with one slate. Any help is appreciated.

Right, we actually had a higher ratio, around 4:1, but we wanted to treat the set as if it were a lower shooting ratio, trying to complete shots in a 2:1 ratio, to save film for other more strenuous setups. Thanks for the comment.

UPDATE- The film is nearly done in the cutting room, I went in for color timing and correction tonight, everything looks great. The director and producer are talking now about getting it into the festival circuit, we'll see what happens with that.

I've looked around a few places online, can't really find much. Looks like we might just have to shell out the $80 at Filmtools.

Allen, I feel ya about the RR with Nikon lenses. The barrel markings are close to useless. I pulled on a commercial recently with this setup, and after that I am a strong believer in the "zen" art of pulling, like you mentioned. 135mm at F/2 of a girl walking down a runway, while dollying...talk about mental witness marks!

Sure. I love S16 too, I just got done shooting a short on the 416 called "The Master." You can find my rants in the In Production thread.

Glad to hear everything turned out. Feels good, right? What were you shooting on, S16 i'm guessing from your stock...Feature?

Also, I want everyone to know I am 20 years old, and this is my second film I've shot on film. I have a lot to learn, but I feel I am on the right path.

Thanks so much for the reply Paul, I am on that exact route as we speak. Just building the resume and the hours to get into the 600 here in Florida, and then will be transferring to LA next year. I guess the more difficult part will be getting onto the Industry Roster... I'll do whatever it takes though, getting there is part of the process, and it wouldn't be as gratifying if you didn't have to work for it. Thanks again.

Paul, I am in my final months of film school, and am very passionate about AC'ing. It looks like you have a great, hard working crew. My goal is to AC on an episodic show in LA, are their any recommendations or tips you might suggest for getting into the television world? Is it possible to get onto a show as a camera intern, or loader? What does hiring look like for a company in television, as compared to narrative film? (Where my experience lies) Any help is appreciated. BTW- Interesting to hear about your timing change in the light levels...Kind of a funny decision to make at this point.