Gregory Irwin

A wonderful montage from a wonderful cinematographer. I've always noticed three specific motifs in his compositions: 1. Using a frame within a frame 2. Filming through windows 3. Silhouette Thank you David for sharing. G

What about swing and tilt lenses? G

I'd rather be lucky than good, any day! G

Hey all... How do I find the serial number on a Small HD DP7 Pro High Bright Monitor? I believe it's electronically stored since it is not posted on the monitor chasis. Thanks... G

Two thirds??? And I'm getting down on myself when I don't hit better than 85-90%! G

You and Stuart both have excellent points here. Focus is simply another aide to telling the story. It's all about the story. As a veteran Focus Puller, like all Focus Pullers, we have a no tolerance bench mark. We strive constantly for perfection. But it's not all about that and we must maintain an open mind and be willing to take those risks for the story. That said, there is a caveat to this. And that is that the "creative" people who have set those parameters must be willing to accept what comes with that style: Imperfection. When I work with David O. Russell, Christopher Nolan and Danny Boyle, who are all proponents of no marks and let the actors have an open pallet when it comes to blocking, they understand the consequences of shooting free form hand held and/or steadicam at a T2. Especially with the 65mm IMAX, hand held with no rehearsals. They embrace the imperfections. But there are directors (and DPs) out there who haven't a clue that they are asking me to defy physical optics. Please don't misunderstand me. I absolutely LOVE to not know what the shot is till we have shot it. I love the challenge and knowing that I have an innate ability to make good focus decisions on the fly. That's invigorating. But like the rest of us, I am human and mistakes will happen. So, when those in charge who insist on the situation and do not appreciate the challenges, I will go out of my way to instill a measure of control in order to protect myself AND the movie. I have met those on both sides who respect the challenges and who are ignorant to the compromises. G

I actually agree with you even at the risk of sounding like a hypocrite. There is something special about the impromptu. But it does come at the price of polished precision. Maybe that's ok. G

Stuart, we are old fashioned because the days of requiring actors to actually practice their craft and hit marks for their light seem to be over and gone. Nowadays, there are no marks and cinematographers must light in broader strokes to accommodate their lack of discipline . That makes me very sad. Years ago, I was William Fraker ASC's First AC. If actors missed their marks, he would simply go to them and explain that if they did not hit their mark, they would not be lit and that their mother would never know they were even in the movie! God I miss those days!!! G

With all due respect Sat, please make sure that I'm present when you explain to Christian Bale or Tom Cruise that they must wear a sensor in their hair. Better yet, explain that to their personal hair and wig people!! That should be very entertaining!!! Good luck with that! ;) G

My friend Howard Preston developed the Preston Light Ranger 2. It's the best option on the market today. I personally haven't had the opportunity to try it yet. Maybe now for Star Trek? Hmmm... G

We tried to develop a technology similar to what you are speaking of a quite few years ago. It failed miserably because of that exact offset constantly changed with actor's body language. Bending over, leaning back, etc. In the end, there is nothing that can replace good old fashioned, manual focus pulling that can remain subjective and help to tell the story. I'm about to start a movie that is shooting with the Master Prime Anamorphics and Alexa open gate! There's the perfect storm for extreme shallow depth of field! I've designed a couple of new focus aides to help me but in the end, it's still me and the focus knob! G

I was thinking of you and Brian D! ;)

My apologies. I took your post in an entirely different way. It sounded to me like you were checking up on his work style behind his back after witnessing how he does it. Good for you on helping him. G

Sounds to me like that you have already hired him. Then trust him. If you don't trust him, then you didn't hire properly. G

Hi Thom! Is that right? Very nice. You worked in post prod at the time? I still like film the most but I'm getting used to digital now. There are benefits to both. Nice to meet you... G

Ha! I second everything Stuart just posted.

What I believe you are saying Miguel is when the "gap" (the measured distance between the gate and the pressure pad) is too great, the film has the ability to fluxuate to and fro during the moment of exposure. That's not good!!! The end result is in and out of focus since the film negative is not registering perfectly in place as it needs to. We refer to this as a "depth of focus" issue rather than a "depth of field" issue. In order to achieve focus with a properly collimated lens, the film must be locked in tight at a particular, prescribed distance away from the rear element of the lens at the moment of exposure. If that distance is changing, the depth of focus (behind the lens) is affected in a very adverse way. I hope I didn't confuse the situation... G

I've worked with Hoyte since "The Fighter" in 2009. He'll be amiable to shoot digi or film. I do know that he prefers film in the end... G

Please... it's Greg. I seriously doubt we will but who knows? I have eight weeks to prep the lenses and cameras to be camera ready for a late June start. All sorts of stuff may develop during that time!!! After seeing our initial tests with them, when compared to the Panavision anamorphic lenses, they are a bit anticeptic. The beauty of the anamorphic format is the fact that anamorphic lenses are flawed. Having said that, there is a limit to how flawed one can accept. We tested the Hawk V-Lites and they were a disaster with internal reflections from specular light sources. The picture looked like a hundred UFOs were countering across the screen while car headlights passed through the frame!! And not in a good way!!! G

Whew!! I was feeling really bad for a moment. I do know Keslow has four sets of MP Anamorphics as well... Good luck! G

Uh oh. That rental house wasn't Otto's was it? I begin a camera prep there with those MP Anamorphics next week. I'm guessing that the probability is high since there are not that many sets out there yet. It'll be my first time with those lenses as well... G

That's fine. We are always taping filters onto lenses for various reasons - in an elegant way, of course! :) G

Why have a matte box at all for that wide of a lens? You can tape any filters directly to the lens and flag any flares. G

This just proves once again that one needs more than a particular talent for a craft to succeed in this industry. There's the key word: "Industry". This is Show BUSINESS. If you don't have a business plan to go along with that talent, it's a very tough mountain to climb. Whether it's golf or archery, it doesn't really matter if it opens leads to contacts and business relationships. As for me, I didn't have a single contact to break into this industry but I've always had good business sense. That has always been my first and foremost approach to this along with being good in the camera department. I just hope it continues to work for at least the next seven years or so when I can begin considering hanging this whole thing up. G

Why do you think we all play golf??? I enjoy the sport but I do more business than anything else out on the course... G