Jump to content

Marque DeWinter

Premium Member
 View Profile  See their activity

  • Posts

    121

  • Joined

  • Last visited

 Content Type 

Posts posted by Marque DeWinter

    400 Hours

    in Business Practices & Producing

    Posted

    Ok so here is the deal from what I understand....

     

    The entire bargaining group (around 17 locals on west & east coasts including 600) agreed to the 400 hour increase. Local 600 has agreed not to break away from the group. For the G&E guys who vastly outnumber us they don't care since its not a struggle to get the hours and the few people that are going to loose coverage they feel are "dead weight" anyway. Local 600 members will take the biggest hit around 15-20% who now have coverage will lose it from what I understand. The initial 600 hour qualifying period from my knowledge hasn't changed (this is only your first period to qualify). The impression I got from the rulers of the guild is that we pretty much have to just eat the additional hours and say thank you.

     

    Why the change...well its all about money. If they increase the bank, then they don't save any money. The way they make up the money is by having those people lose coverage but still pay in when they come up short in their hours.

     

    ~Marque

    hd color correction

    in General Discussion

    Posted

    That's what i get for not spell-checking.

     

    All of this too, I should add, is assuming you're not doing a film out but I have found the scopes to be helpful (or rather more helpful than a computer monitor alone).

     

    Spend the few hundred and get an actual monitor calibration system...the time alone it will save will pay for itself.

     

    ~Marque

    Underwater AC Needed

    in Jobs, Resumes, and Reels

    Posted

    Do you still need someone? Is this a union show?

     

     

    I'm not near by (I'm in NY) and probably late but if you ever need an underwater AC again let me know. I'm certified diver including Nitrox and have experience with housings by Gates and others. You can also check out scubaboard.com (I'm one of the few professionals but there are others local with housing knowledge).

     

    If you haven't started shooting yet I'll gladly fly out.

     

    Thanx,

    Marque DeWinter

    Laser Rangefinder

    in Camera Assistant / DIT & Gear

    Posted

    Brian,

     

    I own a Leica DISTO A3, and enjoy it. The A3 was around $300 when I bought it. I'd recommend checking out Leica's other distance meters too:

     

    http://www.leica-geosystems.com/cpd/en/pro...er/lgs_5061.htm

     

     

    I too am also looking for one but my budget is more around $600... How does the leica operate? Is it the same continuous readout as the Hilti? I was leaning toward the Hilti but didn't even know Leica made them...

     

    thanx,

    Marque DeWinter

    Master Primes...too delicate for normal use?

    in Lenses & Lens Accessories

    Posted

    FYI as a side note... We have Ultras and are having problems sending them out with our Red Cameras... Nobody has asked for Master Primes with it, almost everyone is looking for Super speeds...the older glass cuts the hard HD look a bit.

     

    On a positive note, lenses while very expensive tend to last for a really really long time. You have a set of lenses that will keep earning you money for 30 years if they are cared for. The hard part really is having the credit or the cash to buy $400k in glass. Even a basic set of Ultras (5 lenses) can run you $100k.

     

    ~Marque DeWinter

    Over 1.3 Million Feet Of Film On Tropic Thunder?

    in General Discussion

    Posted

    Yes, 100:1 is a lot for a controlled story film. Documentaries can go a lot higher than that, say 500:1. The "Tape is cheap" mindset has infested TV, where shows now turn in a couple hours of dailies per day instead of about 40 minutes. It's a burden on the editors to wade thru all that .....

     

    -- J.S.

     

    I'm not saying relative to a doc. But for a well planned feature, even a studio feature, it seems like a lot of film to me. I do know other movies that shot that high but for those there was a specific reason ex. after shooting 60% of the movie the studio and writers change the entire script so they lost 80% of what was in the can...

     

    The imdb listed run time is an 1:21 minutes so thats a 178:1 ratio... even when you know that the camera rolls for a bit before and after each shot...

     

    ~Marque

    The Camera Assistant's Number 1

    in Students, New Filmmakers, Film Schools and Programs

    Posted

    To go against Brian just a little bit...

     

    Speed is still very important. You need to be fast, precise, organized, and move with a purpose. As a 2nd I feel my job is to make sure every need, be it equipment or information or anything, that the 1st AC, Cam Op, and DP needs that its your job to provide whatever you have available to them. Do not though sacrifice your abilities to get the job done quickly. Learn to adapt fast. You may be comfortable with doing things a certain way but you need to follow the lead of the department. Being able to work well with others is what will keep you employed.

     

    ~Marque

     

    PS: If you don't know, don't say you don't know but rather say "I'll find out" or "Can you show/teach me?"

    Veterans

    in Off Topic

    Posted

    We can do more than just thank them, we can hire them. Here's a program that trains wounded veterans for careers in this business. The IA also gives them union cards:

     

    Damn I wish they had given me my card...

     

    Also if you really want to say Thank You...make donations and write letters. Find your local Armory (they're all over the place) and make a small donation of everyday goods to a service member and write them a letter. The items will be sent to those serving overseas and they could use the help. Even financial help is needed. Most people don't realize this but for the majority of National Guard and Reservists that get deployed have their typical pay cut dramatically it many times leads to major financial hardships and bankruptcy so even sending little stuff helps out. So anything you can do to help. Even if you don't agree with the war, and many soldiers and sailors don't, they still go and do what they must so please help.

     

     

    If your a New Yorker (this is off the top of my head)

    69th HHC - 68 Lexington Avenue NY, NY 10010

    142nd AVN - 201 Schaefer Drive Ronkonkoma, NY 11779 (Islip Airport)

    427th - 63 Babylon Turnpike Freeport, NY 11520

    53rd - 643 Park Avenue NY, NY 10021

     

    Virginia

    29th HHC - Ft. Belvoir

     

    Sorry I only know my former units and units I've worked with.

     

    ~Marque

    International Cinematographers Guild (600)

    in Business Practices & Producing

    Posted

    Production City...

    Yeah I wish I didn't live in NY. Because if your in NY or LA you don't get a production city. And choose where you live very carefully. If you decide to change you have to wait 18 months in order to declare your production city. Ex. I have a place in Baton Rouge but if I make myself local there I can't work again in NY for 18 months as a local, only as a non-local hire. If your just getting in your production city is instant so if you live in Montana your production city can be LA and your local is the 90 mile radius from your home in Montana without having to wait. I was told there is an exception for either North Carolina or South Carolina (can't remember which) that if you move there your production city choice is still instant. Its best to call your regional office or the national office to get clarification.

     

    ~Marque DeWinter

    Too Many Chiefs...

    in Camera Assistant / DIT & Gear

    Posted

    Just from my observation most DPs I know have a lighting background first, before ever going over to camera. Because if you think about it the DP's job really has more to do with lighting than actually operating the camera. Framing yes, but knowledge of which buttons to push, how to load a mag, etc. aren't neccessary. This isn't to say I'm saying a DP doesn't know these things but they aren't required. Personally my path has been to work my way into Local 600 as an AC and work as a Camera OP/DP on non-union projects. I feel it allows me to work my way up the ladder (I really want to be a camera op, not really a DP its too political for me) on bigger projects where I can make a living and it helps me get the indie projects where I can hone my skills in lighting and being a camera op. Did I got to film school yes. And it helped me realize what I wanted to do, BUT I was already a working sound mixer when I started film school (which I never really wanted to be but I found success at it). Films school helped give me a better theoretical understanding and a more artistic eye then I've gotten on set. On set though taught me about etiquette and technical operations more than anything else.

     

    ~Marque DeWinter

    Marque At Marque DeWinter Dot Com

    1-800-379-0442 ext. 100

    Cart recommendations

    in Camera Assistant / DIT & Gear

    Posted

    I use an R12 with the top shelf (slightly modified to have a 2" lip on both sides) and bottom shelf kits in place of a rubbermaid. Its great that it folds up unlike a rubbermaid. It IS NOT a replacement for my senior cart at all though. If you need something to hold a camera or valuable items don't use a rock n' roller unless your going to ratchet strap it down. Again though if you need a charging station, something to put cases on (the bottom) or even a monitor (strapped down) its a great cart. I would also make sure you buy an small air pump just in case the tires need a bit more (hit enough curbs in a day and it can happen with any cart). The R12 with shelves ran me around $300. A rubbermaid with the modifications its needs will run you the same if not more. I would highly recommend a magliner even if you have to save up for it. Get a senior with the shelf and add on things like the mitchell plate and hooks for sticks, etc. also make sure you charge kit fee for your cart!

     

    ~Marque DeWinter

    Marque At Marque DeWinter Dot Com

    1-800-379-0442 ext. 100

    The AC Resume

    in Camera Assistant / DIT & Gear

    Posted

    I tend to list a few highlight projects first and then list projects by date. I do mix AC/DP/Cam Op/DIT (even some PA jobs since they are on large known studio features and the DPs know me because of it) jobs all on my resume because I feel it shows that I understand the entire department and I work in all the fields currently. I also list education but its listed towards the bottom. I always make sure its a PDF and that the type is clear and easy to read. I never make it more than 2 pages (so I have to decide what projects to cut out or it turns into a huge list). If a DP is ASC make sure you list it. Some DPs can easily get offended if you don't list them as ASC if they are. If you're not sure just call call them ask.

     

    For instance my resume goes

     

    Marque DeWinter

    IATSE Local 600 AC

    1-800-379-0442 ext. 100

    Marque@MarqueDeWinter.com

     

    Brief Personal Statement

     

    Hightlights

    Nine Dead - FF - ND Productions - Mark Vargo, ASC DP - AC

    CSI:NY - TV - "Eye Productions" - Marshall Adams DP - AC

    Quiznos - CM - East Pleasant - DP

    Buck Cherry "Sorry Live" - MV - Atlantic Records - DP

    College Road Trip - FF - Walt Disney Pictures - Theo van de Sande, ASC DP - PA

     

    Recent Jobs By Date

    Burning Palms - FF - Films In Motion/Burning Palms - Red Camera Consultant

    Quiznos - CM - East Pleasant - DP

    One Enchanted Evening - SF/CM - Snapple Inc. - DP

    Nine Dead - FF - ND Productions - Mark Vargo, ASC DP - AC

    etc. etc. etc.

     

    Camera Systems

    Red One

    Panavision Gold, Millennium, etc.

    Arricam, Arri 435, etc.

     

    References

    Mark Vargo, ASC

    Michael Endler

    etc.etc.etc.

     

    Previous Staff Positions

    2001 NBC Inc. etc. etc. etc.

     

    Education

    BFA Film

    BA I/O Pysch

    SOA Steadicam Master Class

     

    Equipment

    Full Red Camera Package

    Primes, Full set of 5x5 Filters

    Arri MB-20, Arri FF-4, O'Connor 2575, etc.

    Full AC package including Magliner

     

     

    Repeat Contact Information & IMDB http://www.imdb.com/name/nm2126707/

    DP & AC w/Red Package Available in NY

    in Jobs, Resumes, and Reels

    Posted

    I have a full Red Camera package available in NY along with my services. Local 600 AC, Resume available on request. I'm looking for projects to use to update my reel so the rates are excellent.

     

    Package includes

     

    Red One

    Prime Lens Set

    O'Connor Support

    MB-20, FF-4

     

    call 1-800-379-0442 ext. 100 or PM me.

     

    ~Marque DeWinter

    RED CAMERA

    in Camera Assistant / DIT & Gear

    Posted

    Ok....Here is the most typical setup for a Red One Camera. For those of you who don't know I own Barnstormer films we have 7 Red One Cameras.

     

    Red Body

    2x Red Focus Hooks (one per side)

    2x Top Mounts

    ET (Element Technica) Top Cheese Plate

    Red Top Handle

    ET Arri Style Base

    Arri Style Dovetail on the head

    19mm rods...8", 12", 18", 24" (you'll want the shorts to mount the cradle to the top mounts on the camera)

    Arri MB-20

    Arri FF-4

    Red Cradle

    4x Red Batteries

    2x Red Drives

    D-Tap Multiplier

    Red EVF

    ET EVF Mount

    Red LCD

    Long & Short Arms (red, or any other brand for the LCD)

    ET Breakout Box

    2x Red Universal Brackets

    Red Handle Mount

    Red Right Handle

    Red Left Handle

    shoulder pad of some type (velcro to bottom of camera)

    O'Connor 2060

    Standard Legs

    Baby Legs

    High Hat

     

    Make sure to get extra screws for mounting, there are 3 main types. Have your allen keys handy all the time. Get extra hard drive and evf/lcd cables. Skip the Red Dovetail config, there are better options. Make sure your monitors can support HD-SDI especially if you are using steadicam. Also make sure the production has a DIT that knows the camera at a minimum on stand-by.

     

    Ultra or Super Speeds, Optimos, to me the S4s are over priced so I generally don't recommend them. The Red zoom lenses breath way too much to be of use and their primes aren't available yet.

     

    ~Marque DeWinter

    RedCameraOp AT gmail

    denecke tc-3 time code slate

    in Camera Assistant / DIT & Gear

    Posted

    I don't know any AC that would require either the GR-1 or the SB-2. I have an SB-2 (SyncBox) which I used with the older Denecke that didn't have the generator built in. Me personally, I have the Ambient Master Clock...

     

    I'm not familiar with the way things are done in Germany but in the US the sound mixer should have a TC slate.

     

    ~Marque

    denecke tc-3 time code slate

    in Camera Assistant / DIT & Gear

    Posted · Edited by Marque DeWinter

    In summary....

     

    As an AC I've never needed to provide anything more than an insert slate. I do carry an extra set of colored sticks (without a slate) just in case. If I really have to I can use paper to slate with the sticks or if for some reason I can use the insert slate.

     

    As a sound mixer I always provide a timecode slate that is jammed with Timecode. If the slate is in good working order there shouldn't be any drift between my recorder and/or masterclock and the slate for the first 6-8 hours. So at lunch I re-jam the slate.

     

    I only use a comtek pair when I have to send live timecode to the slate. This is only required when the timecode changes frequently ie. during playback for music videos. When that is needed I have a short cable (18") that stays plugged into the slate (you need to change the TS3 settings as well) and runs into the comtek receiver which I usually tape to the back of the slate. Every 4 hours or so, just to be safe, I change the 9V battery in the transmitter and receiver.

     

    With the way modern recorders work timecode is automatically recorded so you don't actually "lose" a track. A 4 channel recorder has 4 available channels plus timecode. A 10 channel recorder (like my Diva) has 10 channels plus timecode.

     

    A VERY important thing that as an AC you should always assist the Sound Mixer/Recordist with is verifying the Frame Rate prior to shooting. I have had a few shoots where I ask the DP or an AC and they say "we're shooting at 24fps" and we are really shooting at "29.97" which means that the audio won't sync properly. If the frame rate changes for some reason let the mixer know ASAP and let them know when it changes back.

     

    ~Marque DeWinter

×
×
  • Create New...