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Gregory Irwin

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Gregory Irwin last won the day on October 29

Gregory Irwin had the most liked content!

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About Gregory Irwin

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  • Occupation
    1st Assistant Camera
  • Location
    Work is based in Los Angeles but I live elsewhere.
  • My Gear
    Panavision, Arriflex, IMAX, Red, Sony
  • Specialties
    Greg is a veteran first assistant cameraman who specializes in feature film production based in Hollywood, California. His experience spans over 38 years with numerous major studio, feature length motion pictures that are recognized world-wide. He is a member of the International Cinematographers Guild and The Society of Operating Cameramen.

    In 1989, Greg founded and still leads Latitude 33 Motion Picture Services, LLC that provides motion picture camera technology and related services to the motion picture industry. Clients include Universal Pictures, Warner Bros., Paramount Pictures, Disney, DreamWorks, HBO, CBS, Sony, as well as Panavision, Otto Nemenz, INT and Keslow Camera.

    Greg is happily married to his beloved wife, Rosie, and has two beautiful daughters, an incredible son-in-law and two wonderful grandchildren.

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  1. Absolutely. We are paid for our experience and talent - not for our approval for the project. But we should always bring enthusiasm to the project. As I’ve said before, many of the pictures I work on are not the pictures I like to watch. That doesn’t matter. We are professionals. G
  2. Holy Moly!!!!! I just woke up this morning to a text from Larry (Sher) that he won the Golden Frog, Best Cinematography Award for JOKER at Camerimage Film Festival!!! The picture also won the Audience Award as well! Never has a film won both. So proud. G
  3. Who ever would have predicted that JOKER could possibly make more than $1Billion, USD worldwide box office? ABSOLUTELY NO ONE! But that is exactly what is happening this weekend. When we were shooting the picture, we didn’t know if it was even marketable. For me, this marks my third Billion Dollar Club movie with Fast & Furious 7 & 8 being the predecessors. I’m very happy about JOKER’s success. My hope is that this could inspire the studios to take more risks on pictures that make an impact. JOKER isn’t a comic book movie. It’s a social commentary on mental health issues. Bravo Warner Bros. for having the courage to produce a picture that matters. G
  4. Sat, I wouldn’t say it was ever a disagreement since Larry and Todd are such close friends. It was more of a pro vs. con conversation. Larry can be extremely convincing when he wants to be. Todd even came to me and asked my opinion on the matter. I have a slightly different POV than Larry but I supported his position on shooting digi 100%. It was the right decision and I favor the medium over film. G
  5. Absolutely not! He wanted digital all of the way! We could have shot film but like I’ve said, Larry was and is committed to digital. G
  6. The reality is, after Larry convinced Todd to shoot digital, Todd understood the advantages of going digi over film for JOKER. That’s not to say he’ll never shoot film again. Time will tell but if Larry is involved, it’ll be digital. G
  7. The bad news is canned air chemicals can wear down the lens coatings over time. I recommend not using air on the lenses if you can avoid it. Breathing onto the front element of the lens is the best way to clean the lens with a micro-fiber cloth. If you need a fluid lens cleaner, NEVER put the drops onto the lens element since they can seep into the mount and dissolve the glue holding the glass in place. Dampen your cloth first a gently wipe the front element. G
  8. Off topic but I can’t stand Tarantino pictures. G
  9. Thank you Tyler. I appreciate the lesson in cinematography. G
  10. Tyler, Tyler, Tyler. In reality, Larry Sher, ASC is one of the most intelligent people I’ve ever met. He is fully up to date on everything cinematography. In fact, he just shot a smaller budget feature in LA on film. He simply prefers the digital process. As for JOKER light levels, there were many times our sets were so dark we all had our iPhone flashlights on simply to see. Many of our night interiors and exteriors were at 5 -10 foot candles of exposure. This would be 1600 ISO at a T1.3. We could not have done what we did and how we did it on celluloid without more lighting expense. G
  11. I've worked with Larry since 2008 and you're correct, he WAS a film guy. Now, he only wants to shoot digital and particularly likes the Alexa 65. He likes digital for the same reasons I like it and I've posted those reasons in previous posts. He really is not interested in shooting film again. G
  12. I’ve shot film for over three decades. Now I’m committed to the digital process. I like the fact I can see what I’m doing at the same moment of doing it and not have to worry about all of the problems film can have. G
  13. Hi Webster, Remember, a normal shutter is 180 deg. By shortening the shutter, you are eliminating motion blur and making each image sharper. In musical terms, the footage looks more staccato. By shooting the 90 deg shutter in combination with the 22 FPS, you add edginess to the movie. It looks great! I don’t believe your friend about the 40 mph. Over the five FF pictures I worked on, we had stunt drivers driving on the edge. G
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