Gregory Irwin

Sorry Bill. I just read this post. The Safety Classes are organized by OSHA and basically can state that all IATSE employees have been certified in a series of on set safety practices. This is really just a layer of protection for the studios to limit their liability. They can say in case of an accident: That employee should have known better. He/she was certified in that area of safety. As for a safety officer, there is supposed to be one on set at all times. In reality, we rarely see one. G

That's a good start. All of the responsible people who were in charge and instructing the crew should be held liable for this criminal act - including the ADs, locations and the DP! If any member of my crew had been present (much more experienced than the young crew there), no one would have gone onto that rail without the proper authority. We simply would have said no. But when you are young, inexperienced and mostly trustful of your leadership and afraid of not doing your job for adverse repercussions, you tend to blindly do anything. That's what happened here. I want to see more of those responsible go to jail for the senseless and tragic death of an aspiring young woman. G

Yeah, I remember when I used to believed that. G

Sorry that I've been absent Gregg. My schedule has been a bit brutal. We just wrapped FAST & FURIOUS 7 in Central California and immediately flew to New Orleans for TERMINATOR 5. I guess we just do numbered movies nowadays! With regards to Tiffen vs. Schneider, I appreciate all of the above postings and research on the subject. But in my opinion, Tiffen has always had a greenish tint to their NDs and diffusion filters. You can really see it in digital. Schneider has a true neutral color to their glass. In the end, you have to go with your instincts with what works for you. For me, Schneider works perfectly. G

I consider them trade schools for those who cannot qualify for film school. G

Not on a union show. The union minimum for a 60 hour work week (5 consecutive 12 hour days) would be just under $7000/week. And many work for much more. Adrian, that is crazy and frightening!

"Both LA and NY have a good deal of ultra low budget films which may pay around $100~300/day for a DoP with equipment." Seriously???!!! What do the ACs typically earn? How much non- union work is out there and what type of jobs? Sorry, I don't want to appear so,shocked - although I am. G

My camera rental company, Latitude 33 Motion Picture Services, has owned numerous filters sets over the years. In the end, nothing compares to Schneider. Their quality is far superior than Tiffen and is an industry standard. I have several clients who will not settle for any other manufacturer. G

I'll tell you what... I'd work on it in a heartbeat! It would be a blast!,, G

Very true, David. Very true.

Are we talking about light levels or gates? If gates, cameras have larger gates in order to see beyond the frame lines. We call it "full aperture". We can see things about to enter frame before they do and monitor things such as microphones, boomed overhead to see their relation to the frame line. Projectors simply have the need to project the aspect ratio and thus are matted to reflect such. With reference to gate hairs, if they appear in full aperture, they most likely are not in frame and not a problem. That's what make 2 perf so tricky. The aspect ratio is full aperture. Hairs are always in frame. G

Union waivers. Ha! Based on that, I'm waiving my dues!!!

Gotcha. LA is maxed out now. I'm having trouble staffing my movie. Everyone's working. Good problem to have I guess. G

Very true. I guess I left AFI out because it's a graduate school. One under grad school I accidentally left out is Chapman University. Great school. G

1. USC 2. NYU 3. California State University at Long Beach 4. UCLA In that order.

This is really not true. There is currently more IA union work in the US than ever. Between commercials, TV and features, the IATSE represents the majority of production in the United States.

In the IATSE, DPs make $98.21 per hour if they are working at union scale. This is based on an 8 hour day with OT after 8. This doesn't include the benefits that are earned as well for healthcare, pension and retirement. Most VFX companies and employees are non-union. G

;)

I'm sorry Carl, maybe I'm not understanding you. What you wrote makes absolutely no sense to me. It doesn't matter what you have or don't have if you don't have the correct attitude to back yourself up. Higher education won't do much good if you feel entitled and don't put forth the effort. Just as a $5000 camera won't do much if the person behind it has no training or ambition to learn and compete in this near impossible work environment. G

Weber, Here is the bottom line to all of this: From this moment on, whether you decide on college or no college and your decision on which career path you choose, you better be 1000% committed to your choice with a perserverience of character and an attitude of "take no prisoners". Otherwise, you will be STEAMROLLED by all of the others who do have that commitment and desire for the same. I wish you the best of luck for your future. Greg

You're a paid observer who gets to see it first! ;) G

No apologies needed. All good debate. G

I've got to play devil's advocate with full respect to Carl's posting. I believe that he has a valid point to a degree. There are certainly cases where one can point to successful people who have not gone to college. But there is more evidence out there that college degrees do have an impact on one's earning potential - even within our industry. I received two degrees when I was in college. One was a degree in cinema and the other was in business. What did I get out of it? Certainly not a guaranteed career. But I was taught a method of critical thinking and a discipline that led me to achieving my life's and career goals. I was given opportunities via my schooling to take full advantage of a pathway in. And of course, I was formally taught the craft and business of cinema to proceed forth in creating my own successful career. I'm not even getting into the whole "college experience" that helps define one's self. I still have great friendships and business relationships that were created back in college. That was 35 years ago. From that time through today, I have been blessed with opportunities to have continually worked on the type of jobs that I originally got into the industry to be involved with - the big budget, studio Hollywood movies. Back in 1989, I started my own camera equipment rental company that still services the Hollywood studios today! I attribute all of this to my own ambitions and to my education. To Carl's other points, I would hate to see Weber go out and blow a ton of money on a camera that will be outdated in a year. If he's going to buy a camera, buy a less expensive one in order to practice the craft with. A good cameraman can make beautiful images with less fancy gear. Finally, Carl has an excellent point with regards to the financial impact of Weber's education vs. his mom's financial well being. A sound business plan is needed but that's now a whole new topic. The school of "Life's Experiences" is a good one. But I will always argue that the formal version of education will take you to another, higher level and offer opportunities that you mIght not otherwise have. I feel qualified to say this since I'm of an age where I have experienced both. Greg

I'm assuming that based on your picture and FSU, you are talking about Florida State. The good news is that a state funded university should not cost anywhere near $200K. Am I wrong? And if I am, I'd rather spend the same money and go to USC Film if you could get in. G

And you cannot go into the film industry because you want money. You have to do it because it's your passion, otherwise you will not last 6 months. R, I totally agree! That is reality. Greg