Gregory Irwin

It is also important to realize that with zoom lenses, the lens speed (exposure) changes throughout the zoom range. Generally, they get slower towards the long end.

The "T" stands for transmission. F-stops are calculated mathematically for mass lens production so each stop is a bit of a generic measurement. Transmission stops (T-stops) are literally measured lens by lens by shooting light through the individual lens in order to measure precisely where each stop is. You treat F-stops and T-stops the same when calculating exposure. G

Apparently, JOKER had an eight minute standing ovation at the conclusion of the picture!! I was told that is unprecedented at the Venice Film Festival. A great start! G

Correction: JOKER debuts tonight at the Venice Film Festival. ??‍♂️

It’s debuting at the Venice Film Festival today! We have our fingers crossed but we also already know we have a special picture here with JOKER. G

I believe you will ruin your camera if you have nothing less than a proper underwater housing. The salt alone, will eventually corrode everything in the camera, continuing well after your shoot. And, you most likely will not even get a clear image of your subject without an optically clear port in front of your lens. Not worth the risk. G

Is the camera going to be submerged? Is it fresh water or salt water? G

Hi Luke, It's a personal decision. Both systems have their benefits and cost the same. For me, as a professional focus puller, the Light Ranger reduced my focus pulling instincts to a playing a video game. Just keep the green bars over the subject. Besides keeping shots sharp, our main duty is to help tell the story. For me, the LR is too distracting to do that. The Cine RT is a brilliant tool that takes the Cinetape to a whole new level of performance. I really like using it and I much prefer it over the LR. The Cine RT is way more simple to set up and is way less fussy than the LR even though the most obvious difference is the Cine RT does not have auto focus. That's fine by me! The biggest difference between the CRT and the Cinetape is that it's wireless and does not have a clumsy display to have to find a place for on the camera. The display/control unit is next to you and you can change settings at will - even when you're rolling. Anyway, the Cine RT works great for me. I hope this helps you with your decision! G

And 7 stops of ND! ? G

This is my set up: Small HD 1303 shown with Cine RT Base Unit and Preston HU III. And yes, even a portable fan for the hot summer days! G

I’ve tried many and for me the best is the Small HD 1303. It has the size yet light weight and all of the tools one would need to be successful. G

Cinematography Electronics makes and sells the Cinetape and Cine RT makes and sells the Focus Bug.

I second that recommendation! My company owns both the Cine RT and the Cinetape and the Cine RT blows everything else away. We should also include the Preston Light Ranger in the conversation but I'm not a fan of it. G

There’s one thing I’ll say about this Venice... I walk onto the set and I can’t see my hand in front of my face it’s so dimly lit but the exposure and the image is clear as day! Unbelievable! This camera is remarkable at 1600 EI at a 2500 base. G

Whenever you get the pleasure and privilege of being the first to use new technology, it’s a blessing and a curse. You have bragging rights but you are the Guinea Pig and must learn to deal with the good and bad. G

I believe you Robin but I don’t believe that Sony is ignorant towards this lag issue. They don’t want this out there to preserve sales. We have 3 Venice cameras and another show that was prepping along side of us has 3 Sony Venice cameras and all six lagged. The chief tech from Otto Nemenz, who is extremely reputable, has been working with Sony to rectify the problem. G

Sony recognizes the issue but currently doesn’t have a fix for it. It’s not just in the EVF, it’s on all monitors. The delay is only visual not recorded. There’s also a circuit board issue that if you do not have the current upgraded boards that are in short supply but in high demand, the camera can simply die at any moment. It could last an entire schedule without incident or it could go out within the first hour of using. Let’s face it. The Venice is new technology and needs to go through its growing pains to become efficient. Hopefully Sony will figure it out. G

Our rental house is Otto Nemenz and they have tricked out their Venice cameras very well. Another issue I have with the Sony Venice that I didn’t mention earlier is the visual lag time. There is a noticeable delay of about 2 frames in the “normal” mode and worse, about a 3-4 frame delay in the Rialto mode. It affects the operating and focus pulling timing. Annoying! G

It’s pretty easy over here Phil. Once the word “liability “ is stated, producers are willing. G

I wanted to expand on the post that mentioned Haskell’s “Who Needs Sleep”. Sadly, towards the end of the documentary, there is a funeral for camera operator, Michael Stone. I was at that funeral and Michael was the second member of my team and a close friend to die due to hours worked. He worked too many hours that night and paid the ultimate price driving home. This issue of excessive work hours is close to my heart. I am very vocal about it at work. I always insist on a courtesy hotel room provided by production for people who are too tired to drive home. There was even a time on an out of control (hours-wise) HBO show I did, I informed the First AD that at 14 hours, I was going home. I didn’t care if the camera was rolling - I was getting into my car and leaving. I told him that I wouldn’t be a participant in putting exhausted crew members onto the freeway after a most likely 20 hour day. The result? I wasn’t fired and we wrapped at 14 hours! That trend continued on that show for the remainder of it. As for rotating crews in order to keep filming, that doesn’t work for several reasons. The most obvious is that the director can’t go on for that long and neither can the actors. As for crew members, certain departments theoretically could rotate out but none of the frontline crew could ever do that. This would include the camera department, the assistant directors, continuity and I’m sure others I’m not mentioning here. G

It’s a good camera as far as it goes. The DP likes the dynamic range, I like the internal NDs and the weight is good. The issue is these cameras are getting so small that the real estate to mount accessories to make it a cinematic camera is limited. The end result is having to add cages and power distribution boxes to accommodate these accessories that make the camera heavier and bigger than advertised. This by no means limited to the Venice. G

Yes and yes. Sony Venice. G

That has been the classic tragedy of our industry Phil. Too many hours and not enough sleep time. I’ve lost 2 good friends to falling asleep behind the wheel due to too many hours worked. The current trend here in the Hollywood feature film industry is to work 10 hours/day and not break for lunch. Food is constantly available and lunch is also brought to us while we continue to shoot. The producers are contractually obligated to pay each union employee meal penalties for every half hour past the initial 6 hours worked when a meal break is due. We receive the meal penalties every half hour till we wrap. The exchange for quality of life vs. OT is growing more popular here. Having a 8:00am call means we are going home by 6pm. Dinner with the family? Unheard of before! G

Well, I have 40 years in the business and around 80,000 hours behind the camera. I don’t need the OT. I like quality of life with my family much more these days! G

I’m working with Ron Howard currently and I must say that he is a refreshing breath of fresh air. He’s polite and prepared. We don’t go a second over 10 hours per day and sometimes we finish 5 pages of scripted dialogue in less time. I’ve worked with many top directors in this business over the years but I’m particularly enjoying this one. G