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Marque DeWinter

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Everything posted by Marque DeWinter

  1. I'm attaching the general forms I use as PDFs. They hare formatted to fit two sizes. one is an acetate clipboard that fits on the back of a slate (velcro) and the other is the summons clipboards. They include more space for additional information than many others. Prints two to a page. Feel free to use it as you wish just please keep the copyright attached as I went through a lot of working to get the copyright. ~Marque cam_report_11.pdf cam_report_10.pdf
  2. I build them all the time including for other ACs. I don't think $150 is ever fair since the bracket along costs that much.... Now if the bracket isn't included.. ~Marque
  3. I was recently wrapped a feature film shoot with the production company (Mortician US, LLC) failing to pay me around $8,000. Luckily its a union job and Jack Nealy is going to bat for me about it. But in doing some research it got me wondering about contacts. The company main production company is Full Circle Films in London which hired Belladonna in New York who created Mortician US LLC in Louisiana. Now the executives of Belladonna (primarily Linda Moran) are also the executives of Mortician according to the state filings and it would be easy to pierce the veil of protection on the LLC and sue Belladonna but bridging to Full Circle might be difficult. Has anyone else dealt with such issues? ~Marque
  4. I used to work on Oprah long ago... Not only do they pay better with better benefits (and the annual gifts are a huge perk) but my personal guess would be if the show did flip it would go NABET and not IATSE. They also tend to subcontract out a lot of the work to ENG production companies with a Harpo field producer supervising. ~Marque DeWinter
  5. I'm an experienced AC/DIT (Red, D-21, Genesi)/Stereographer with lots of equipment. Available in the metro NY area, Boston/Worcester. Union & Non-Union work wanted. If its union I'll also work as a loader/technician/whatever to make hours. Thanks, Marque DeWinter www.MarqueDeWinter.com 1-800-379-0442 ext. 100
  6. While it won't work for you... On the film I just wrapped on we used an air knife to keep water away from the beam splitter (it was 3D or the outter most element). What it does is create a stream of high pressure air shooting outwards away from the camera to blow any water away from the camera. It works ok but tilting up severely can be a problem. ~Marque DeWinter
  7. From what I've found (and I've now worked on 3 3D films and 2 other projects) the best way to do it is to shoot on a 3D system (Pace is the best but so expensive its not for indies). Do your rough cut in 2D then go and convert it all to 3D do your final cut/color correction/etc. It tends to be the most sensible, most affordable, and still giving a professional result. ~Marque DeWinter For more info check out Cineform's Neo 3D to work with FCP If you have specific questions send me an email MarqueATmarquedewinterDOTcom
  8. Rental rates on the panchros for 5 should be around $500/day whereas that same in masters can easily go over $1000/day. Right now though a set of 5 supers is hitting $600/day a day due to demand... So on low budgets it can make a difference. I agree that the 2.3 would make more sense. Especially if they are attempting to get to the Red market. Red's optics (no opinion in this) are listed as T1.8 (except the 300mm prime at T3). The Zeiss set goes from a T1.5 to a T3.6 which is a huge swing, but the lesnes are 1/4 of the price of the S4i lenses. If cooke released the panchros for a 5 lenses set at $30k with a T2.3 I think they would dominate this market. If they stick to the T2.8 I think they will get a small portion of the market. ~Marque
  9. First off if you really want to be a DP...join the electric crew and work on becoming a gaffer first. A DPs main job is lighting for the camera, not operating the camera. As for joining the Union... I would wait. Personally I did wait a number of years to join. I waited until I had some contacts. And I still got completely screwed, but by the economy. I joined last July right before everything tanked and many of the guys that said they would get me work suddenly weren't willing to have their regular crew sit out for a few days for fear that they might not make it. I totally understand that. What I really didn't expect was all my non-union people wouldn't hire me because they were afraid I was going to try to unionize their shoots. Now, no offense to them, but most of them were too small and I like working enough where I never would have, but a number of the producers go fearful and I stopped getting phone calls. I'm lucky enough to have my rental company to fall back on (having a full lighting package and 7 cameras is a definite plus). But like Annie there isn't much else I know how to do not in this business that in this economy I could get a job at. So do you need to work your @ss off, yes. Are contacts essential, yes. Will that mean you'll find success, maybe. There are still "family" union members whos contact list is good enough to work for their entire lives, but for most of us that just isn't the case. Also.... Boston isn't such a bad place to be, and its getting better. If the new tax incentive passes and the studio bill passes it might even be better than NY because there is less crew there and the number of productions shooting there is increasing because of the incentives. (I have a place in worcester and one in ny) ~Marque
  10. Yes the Setwear has the same three internal pouches plus two smaller ones to either side which fit a small flashlight well or a marker. I've had lindcraft items and I use the large setwear pouch. The lindcraft and setwear are of equal quality. They're made out of the same materials. Get whichever you want. ~Marque
  11. It may go without saying but a few BNC barrels, Ts, etc. Also order a few of the dry erase maker erasers that go on the markers. For that Fat Max..throw a 1" plastic washer on the end and cover it with bright gaff tape (the hot pink color or chroma green is good). It makes it easer to see where the end is. ~Marque
  12. My company, Barnstormer, also sometimes sells gear. Right now I've got a few light stands available. Basically anyone who is interested can just call us and we'll let them know whats available. Sincerely, Marque DeWinter
  13. I need a DP with experience working with the Red, prefer someone with a background working on comedies. This is for a 250k ultra low budget non-union shooting in upstate NY. Please send a resume and link to your reel to production@barnstormerfilms.com Thanks, Marque DeWinter
  14. I'm working with a production company and we have a number of low budget jobs coming up in the next few months in the Worcester and Boston areas. Shoots will be on the Red. Dates, pay rates, etc. still to be determined but once we have a green light on that information projects will happen quickly. Some jobs may be no pay, some low pay, and some paid at scale. Please send resumes (if you have a link to an reel that would help especially for 1st ACs) to Production@BarnstormerFilms.com HIRES MUST BE LOCAL. There will be no hotel, flights, etc. Please DO NOT PM me about this. Thanks, Marque DeWinter
  15. Yeah I only put it together in like 20 minutes... very rough cut. I did start looking for some music earlier today. Again it isn't really a "reel" per ce so I'm not too worried about it. Thanks, Marque
  16. I haven't had time to really assemble a reel or anything, but for a job next month I had to give them some shots of stuff I've work on. Let me know what you think http://www.vimeo.com/6842229 Thanks, Marque
  17. You'll also need to coordinate with the audio techs and make sure that your levels are set to handle the changes the theatre gets. As far as the lighting you'll either have to see if the designer is willing to make the changes or you could run something like 2 wide cams side by side one more open than the other. This would allow your other cameras to adjust their F stop between the two points as needed and still give you a cut point. Its not the best option but it could work. Some theatres are also better than others (the Minskoff comes to mind as tough to shoot). ~Marque
  18. As I said I've got some time right now. So if anyone does want to get some time with the camera PM me. ~Marque
  19. Thanks to everyone for the help. I know about the cable issue and I'll be sure to get the correct cables and the terminators as well. Again thanks for all the help. ~Marque
  20. I wasn't sure where to put this so...general it is. Anyone have any suggestions on how to go about finding a mentor? I have so much more to learn but its hard to find someone with lots and lots of experience thats willing to take anyone on. I've been lucky enough to have previously gotten to work for Michael Endler and I could really use someone like that to learn from here in NY. Chaim said they don't do a mentor program here in NY (I heard there is one in LA) for L600. Any suggestions? Anyone want to take on a 2nd AC (I"ll even intern) who is experienced but needs more? Thanks, Marque
  21. Annie don't tell everyone that... I'll loose most of my recent work. Wait I've been DITing and 2nd ACing at the same time...so it hasn't been like that :-( I have to say that while I've never gone with the handcuffs and bondage pants (???) The last day of PR7 most of the crew got dressed up. Its so odd when everyone is in a suit. ~Marque
  22. John mind if I ask how much you paid for it? Thanks, marque
  23. I think this is what I've come up with... 2x Elation Scene Setter 24 Channel boards (I'd do the 48 channel but I want to keep them simple and the studio is already divided into 2 different sections for light) 6x 6 Channel Lex Products edison dimmer for 1200w each channel 1x 12 Channel Lex Products 1500w edison dimmer I've got 1.5k Cycs running on the 1500w/channel dimmer (10 of them) and I'll run 2 of the 6 channel to that grid and leave those available. I've got two 16'x16' with 4x4 spacing grids that I'll give 12 channels of the 1200w/channel each to. The studio is already going to have 200amp service via cam lock with distro to 100amp bates and lunch boxes to 20a edison so I'm not too concerned about putting very high wattage into the grid. Its a fixed grid that we're putting up with a few Par64s, Source4 elips, and each 16x16 will have two Mega 4Bank kinos Thanks, Marque
  24. Right now I've got some time so if anyone in the NYC area wants to get some Red time let me know. You find a location, I'll bring the camera, a few lights... ~Marque
  25. The budget isn't so low..but I can't spend $2k on one dimmer to handle a fixture that only costs $900. Most of the dimmers that I've found so far that are reasonably priced won't support more than 600w/channel or so. I appreciate all the help. Thanks, Marque
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