Gregory Irwin

Hire well and hire smart to have a good team around you to share the burden. G

That’s another good question Dom. The CoC really doesn’t come into consideration on a daily basis. These days with 8K resolution and the want of shooting wide open, all you need to know is that there isn’t any dof. Stay vigilant. If any dof charts are used these days, I would say the P-cam app is it. But you’re right in observing that we can see the depth on HD monitors. The random times that I will still look up a dof calculation would be for wide shots when I have to hold a specific range in focus. I can pretty much calculate it in my head faster than I can look it up but I still sometimes need to confirm my expectations. Otherwise, what’s the point? Just do your job and keep the shot in focus! G

I hear what you’re saying David. I’m comparing the Kelly Wheel to the Samcine which offers the user 3 different CoCs to choose from. The Kelly does not. G

No way to choose COC. That’s why it was inaccurate.

Remember the Kelly Wheel? Not as accurate as the Samcine.

Ha! I still have mine too! G

Way too much information. Keep it simple and just pull focus. G

I totally agree Stuart. For many years, I worked for the great cinematographer, William Fraker, ASC. If an actor didn’t live up to his/her responsibilities of their craft, Billy would calmly walk up to them, point out their mark and key light and kindly explain if they don’t pay attention to these, their mothers will most likely never see them in the motion picture! 😂 I loved that he held them accountable for their end of the filmmaking craft. G

I agree with Stuart about his assessment of “good” actors. Sadly, those classically trained cinema actors are a dying breed. Here is a quote from me when recently interviewed by International Cinematographers Guild magazine’s Pauline Rogers on this topic: It used to be that actors would be held accountable for their part in hitting their marks and finding their light. They would also have the awareness to find the lens every time and understand frame size. Those days are over. Now we have to pander to their whim of where and when they move, try to unbury them from behind another actor who has also missed his/her mark. A lot of my success is knowing when and how the camera will move to compensate. ICG Magazine, July, 2020 G

That’s our entire skill set Justin. That’s exactly what we are paid well to do. It’s a game of FRACTIONS of an inch. It takes practice of many years to get good at this and still it may not be for everyone. It’s one of the hardest jobs on set. We focus pullers have to understand human nature and body language in order to anticipate what motion will happen next, we have to understand storytelling and how our focus choices may affect the editing of the shot/scene. We must have a complete mastery of cinematography and how our actions will impact it. Many times it’s guessing what will happen next and sometimes we’re wrong and need another shot at it. Focus pulling is not a perfect science. It’s a human act. And with that comes imperfections that may become part of the cinematic character of the image. That’s not to say we like and accept mistakes. We hate seeing soft focus or choices of where we played focus in a shot that didn’t quite work out. But we are human beings doing this and not machines. If you ever meet a focus puller who says he/she never has a soft shot, I will tell you right now that they are not being truthful or they haven’t done it for very long. G

I’ve been silently following this thread for a couple of days now. I wasn’t going to weigh in because there’s no need to repeat past conversations on portions of the above. However, I will say that in the film world, it is absolutely the operator’s job to see and report on focus whether it’s to confirm success or failure. I’ve known several incidents where the operator was let go due to not fulfilling this part of the job. In the digital world, all focus requirements and practices have changed. With monitor focus pulling and practically everyone on set being able to judge focus, the onus has been placed squarely on the shoulders of the focus puller. Yes, the job has been made easier since you can immediately see the results but digital focus is much more difficult due to resolution (ie. 8K) and the perception that rehearsals are unnecessary since we have much more liberal running times with the media. Personally, I embrace both of these factors and I enjoy the reality that the art of focus pulling has become more about storytelling rather than a technical process. G

Ha! I just bought it! G

Thanks for the info as well Miguel. I've never used the mini Hawks and would love to test them sometime. As for the rest of the Hawk lenses, the excessive flaring and the inability to handle any amount of sourcey backlight (such as a bright window in the bg) drives me crazy. They are also just too big and heavy. G

Thanks Manu! Great information. My wife and I have gotten hooked on the series during this COVID-19 hostage crisis. I actually guessed that they were Hawk lenses. They sport all of the hallmark characteristics such as an overall softness, veiling and flaring. I personally am not a fan. If the DP wanted imperfect optics, he got them! But the show is awesome and overall looks terrific. I feel for the focus pullers since they were tasked with an almost impossible job of keeping these T1 lenses in focus. They did a very good job considering their compromised position with these lenses. Cheers to them! G

Anyone have any info on what lenses they used? G