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Gregory Irwin

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Everything posted by Gregory Irwin

  1. Gregory Irwin
    I’m not clear on what pin you are using. Below is the Matthews Monitor Mount that we use for for the same purpose. This can be purchased through Filmtools.com. for less than $200 USD. I’m not sure where you are and shipping could be expensive. You may be able to source it more locally. Good luck! G
  2. Gregory Irwin
    I'm not sure if any of us understands your issue. Please explain more thouroghly. G
  3. Gregory Irwin
    Never had the chance to go Checkers. I had a driver always waiting for me at wrap and I was whisked away to TriBeCa where I was staying. G
  4. Gregory Irwin
    Nice! I lived near Kahala. Enjoy the aloha! G
  5. Gregory Irwin
    Whaaaa??? I lived in Hawaii for years! What island are you on?
  6. Gregory Irwin
    Happy Holidays to everyone!
  7. Gregory Irwin
    I guess that’s accurate. I’m just not sure what the character would be. Look, that’s my opinion. It doesn’t make me right. They are used plenty. G
  8. Gregory Irwin
    Honestly Stuart, they don’t match in any way as a set. Also, similar focal lengths range all over the place in sharpness and contrast. Zero consistency Mechanically, they feel a bit flimsy. Some people love them so what do I know? ? G
  9. Gregory Irwin
    You’re so welcome! To answer your questions: yes yes not sure. The lens choices were based on several factors. They needed to be spherical (1:1.85), small in size, light weight, close focus and high speed. The converted still lenses had the look that Larry was going for as opposed to the available cine lenses at the time, although we carried some Cine lenses as well. The biggest challenge in the lens search was which lenses would cover the Alexa 65 sensor with a minimal extraction percentage? Lenses that terribly vignetted were ruled out immediately regardless of their optical quality. Out of the preferred lenses that did vignette, the question was could we open the iris or improve other physical barriers that would allow improved performance and less vignette? I tested somewhere around 200 lenses to end up with the 19 we chose for the movie. I believe we settled on a 5% extraction of the sensor. And as I mentioned before, out of the selected lenses that allowed us to do so, we changed lens coatings, changed color and flare characteristics in order to make this mixed bag match better. In the end, we mostly shot JOKER with maybe 7 lenses. All in all, my camera prep was around 7-8 weeks to accomplish all of this. Happy Holidays all! G
  10. Gregory Irwin
    That’s awesome! I’ll be sure to show him this. He’ll enjoy it. Merry Christmas Miguel! G
  11. Gregory Irwin
    The DNAs are made by ARRI for their large format cameras like the Alexa 65. They are decent pro-sumer lenses at best as far as I’m concerned. G
  12. Gregory Irwin
    Pictured here is my “cheat sheet” of our lenses. In reality, the Canon T1.3s, the Leica 90mm and the Nikon 58mm were the work horse lenses that were employed the most. It’s a bit of a Frankenstein lens package at best! I was able to detune certain lenses to make them match better in terms of color an contrast as well. Arri Rental in NYC was instrumental to us achieving the look we were trying to achieve. G G
  13. Gregory Irwin
    Yes and no. It depends on the relationship between the two and the trust level. Also, the DP can establish the rules of the game early on and then allow the team to make decisions within those rules. That way when you as a DP have an “A” list camera team, you don’t have to micromanage. That allows the team to make intelligent decisions, be involved and have a stake in the responsibility for such decisions. For example, on JOKER, once Larry gave me his parameters for the type of lens requirements he wanted, the actual lens choices were entirely my own. The lens package was mine to own and if it didn’t work out for some reason, it was my responsibility and that would certainly reflect on the cinematographer. I can’t have that. I go all in for intelligent choices and thus I have skin in the game. That goes for every member of my camera team whether you are the Key 2nd AC or even the digital loader. Decisions must be independently made for their realm but must fit into the overall goals of the picture. But in the end, the responsibility goes upward to the top making each of us creditworthy (or not) to the boss and production. That’s why camera teams can stay together for years because of the trust levels and track records. G
  14. Gregory Irwin
    You know PJ Miguel? He’s a fantastic guy. Good cameraman too! I will say hello for you! G
  15. Gregory Irwin
    I’m sure we shot with a long shutter many times Stuart on JOKER. My DIT, Nick Kay is a fan of utilizing shutter with exposure needs to trade off going to a high EI value. Though I don’t have our camera log books anymore, we most likely shot all of the dark, slo mo with a 360 degree shutter. Currently, Nick and I are employing many of the same strategies on our Marvel show with cinematographer, PJ Dillon (Game of Thrones) in order to serve over-cranked exposure needs for our low light, 8K, anamorphic format. G
  16. Gregory Irwin
    Panavision film cameras ran 200 deg. shutters. I think it was a marketing ploy and really didn’t do much more than the traditional 180 shutter. G
  17. Gregory Irwin
    No one is interested in 65mm, anamorphic? G
  18. Gregory Irwin
    You can work up to 40 days elapsed before you are required to reclassify in Local 600. G
  19. Gregory Irwin
    Tyler, I’m curious to know how the gloves contribute to loading film? What was your professor’s logic behind that? G
  20. Gregory Irwin
    I meant neither disrespect nor was I referring to anyone in particular with the “want to be” comment. G
  21. Gregory Irwin
    Robin, I wouldn’t let others prohibit an accomplished cinematographer as yourself from participating in this global forum. We share our experiences with all who participate ranging from newbies to veterans to want-to-bees. It’s all good. I’ve been criticized by the best here and I don’t worry about it. We would all hate to see you go. G
  22. Gregory Irwin
    Here’s another equation: Director wants film and is a film guy Director is convinced to shoot digital Director wins awards and earns $100M in income Director LOVES digital! ?
  23. Gregory Irwin
    Welcome back Richard! You e been missed! G
  24. Gregory Irwin
    Sorry... just read this. Sat is right on the spot with his interpretation of my post. Todd and Larry are very close friends as well as collaborators. It was a mutually agreed upon decision to shoot digi in the end. G
  25. Gregory Irwin
    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
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