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Gregory Irwin

Sustaining Member
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    857
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About Gregory Irwin

  • Rank

  • Birthday September 21

Profile Information

  • Occupation
    1st Assistant Camera
  • Location
    Work is based out of Los Angeles but I live elsewhere.
  • My Gear
    Panavision, Arriflex, IMAX, Sony
  • Specialties
    Greg is a veteran first assistant cameraman who specializes in feature film production based in Hollywood, California. His experience spans 40 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 Camera Operators.

    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.

    In 2016, The Society of Camera Operators honored Greg with their Lifetime Achievement Award for extraordinary service as a camera technician. The tribute video can be viewed on the "About Me" tab of this profile.

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

Contact Methods

  • Website URL
    http://www.imdb.com/name/nm0410389/

Recent Profile Visitors

29172 profile views
  1. The VFX work on this picture is extremely extensive. In addition to the “traditional “ VFX work, we will also be employing the Volume. I finally decided on a method for the lens reference. Due to a variety of variables such as anamorphic vs. spherical, squeeze factors, crop factors, extraction percentages, as well as expander powers, we can calculate the trigonometry to convert the different types and focal lengths of lenses (with the 2.39:1 aspect ratio throughout on the Alexa LF OG sensor) to the spherical, super 35mm focal length equivalents. This will be based on horizontal angl
  2. Even as that may be, I need to have a comprehensive understanding of the angles of view along with VFX’s need for the same.
  3. Hi Tyler, The set is currently comprised of 40, 50, 75, 100 & 135mm. There are also 2 zooms, 40-70 and 70-200. In addition, per our request, P&S made separately 2 close focus lenses, 40mm & 50mm to 16inches. G
  4. Do you have any reference material that may be relevant to me from the Todd-AO way of listing their lenses? I would much appreciate that. Possibly email to me? Thanks David! G
  5. I completely understand what your concern was David. Sometimes my brain goes much faster than my writing and I can be unclear. I need to learn to slow down and be much more concisely understood. With regards to the new Technovision, 1.5x anamorphic lenses, P&S Technik did a very good job recreating the 1960’s Technovision look. The color, contrast, fall off and bokeh has a beautiful, nostalgic feel to them. And they cover large sensors! I love Larry Sher’s bold idea to go with a period look for a high tech, comic book, super hero movie. Again, gutsy like his decision making was o
  6. As Shakespeare’s Hamlet once pondered, “Ay, there’s the rub”. I sympathize with what you wrote Dom. I believe in my case, I went into this project thinking I knew the questions that needed answers. Once I arrived in Los Angeles and began my dive into the lenses at Otto Nemenz International, I quickly realized that in order to understand my goals, I needed to figure out what the real question was! I was a bit dumbfounded for a while that I didn’t already know this! With all of the variables that have already been mentioned in the earlier posts, I believe the real question
  7. You’re absolutely correct about the squeeze factors. The Technovision was 2x and the only reason ours is 1.5x is to make them full frame. Thanks David! G
  8. I’m currently prepping and testing various lenses for my next movie, BLACK ADAM for Warner Bros. I am constantly reminded and amazed at how much more complicated incorporating lenses of different formats and sizes has become. For example, I am employing a brand new series of 1.5x anamorphic lenses that were built for us and our show by P&S Techique in Germany. These lenses are replicating the 1960’s Technovision look that was made famous by Storaro and others years ago but in a modern lens construction. Since it’s only a five focal length set, I need to supplement additional focal le
  9. Hey there! First and foremost, be ethical with what you are renting. Rent the gear that is needed. Don’t rent gear that is unnecessary or doesn’t even exist just to make more money. That’s a death sentence for the long run. Transparency is very important for the production to trust renting gear from a previously unknown vendor. Also, keep your gear up to date and maintained. I rent a lot of gear, not only to my shows but to any show that wishes to do business with my gear, through my registered corporation, Latitude 33 Motion Picture Services. That maintains a business relationship between
  10. It's fun to read all of the above. I've been focus pulling for so long (42 years) that I've forgotten much of what it takes to be good and instinctive for the job. Like I have stated before, it takes many years of struggling and practice to achieve a proficiency for the craft. Only after you can get beyond the academics and mechanics of focus pulling can your mind be free to concentrate on the creative aspects of the art. It's very liberating once that happens and enjoyable! At this stage of my career, I really don't even touch the cameras anymore. My extremely talented and qualified tea
  11. It certainly makes the day go by quickly. Larry Sher and I will be doing it again, beginning in April, except that this time around will be anamorphic. Warner Bros. /DC Comics, BLACK ADAM will also employ volume technology. It should be great! G
  12. Hi all, Sorry for the long delay in my response. Basically, for the bathroom scene in JOKER, we had the Alexa 65 camera set at 3200 Kelvin and most likely 1600 ISO to achieve an exposure of T1.4. As for the lighting, all fixtures were tied to a dimmer board where the dimmer board operator could dial in the fluorescent green combined with the orange of the sodium vapor lights. Everything was very controlled. I hope this helps. G
  13. Oh boy. That was a while ago. Let me do some homework and refresh my memory and I’ll report back. G
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