Gregory Irwin

We actually had a great get together in New York a few years ago. We had a blast. Like Freya said, the timing has to be right. With all of our travel schedules it's hard enough to just see family! G

Sorry I missed you Phil (and Adrian). Just read your post. Next time Ok? G

I'm guessing that this is an older design where the lens physically "travels". In the past, we had to use extra wide follow focus gears that could accommodate the travel. Newer designs allow the elements to travel inside the barrel in order to not have this issue among other things. G

That's good. Glad to hear that. Best of luck to you on your project and thank you! G

Hire a First Assistant that can keep pace with a 22 day shoot and also keep all of that hand held in focus! Otherwise, all of the above is mute. G

It's a good possibility that the measured "gap" between the gate and the pressure pad that holds the film against the gate (as it runs through the camera) could be too narrow. This could cause an intermittant bruising to the negative and sounds like what you have described. An experienced camera tech can adjust that gap to where it works effectively without causing this bruising. G

This company is known for insuring camera gear: http://www.taylorinsurance.com Good luck!

It's the same crew. I'm simply playing catch up with them. I've keyed the First Unit on several of the FAST movies but had to originally pass on "7" due to my commitment to the recent Chris Nolan picture. Now, we all will be reunited in a very difficult situation. Thank you Freya - it's going to be emotionally tough without Paul but the picture must be finished. G

Thanks for the support Eric! I will be sure to say hi to Geoff for you. We're working together now on FAST & FURIOUS 7 (shameless plug!) :) G

Bravo Dom! Excellent presentation! It also brought back great memories. I used the 2C for many years and loved the simplicity of that camera. And thank you for sharing this Nicholas. G

Please realize that the nearly 10,000 feet per day was primarily one camera. As for shooting with 2 cameras, that's really a question for your cinematographer with regards to lighting. You really should have a good B cam operator who understands the role of finding shots that are good for editorial. Whether they are different coverages or cut aways, the B camera could be very useful. Without that sort of experience behind it, the second camera could become a hinderence. As for VALENTINES DAY, what a blast working with Gary. He is a true one of a kind. G

Hi Ryan, I just spoke to my UPM on AH and this is what he told me. We were a 2 camera show shooting 2 perf, but for the most part we were only one camera shooting at a time. We shot about 9,600 ft. of film per day. For a 35 day schedule, that equals 336,000 feet of film. It sounds like your producer is right on. Hope this helps and good luck!! G

Dom, I am so impressed with your knowledge. Bravo! G

The sooner in April the better for me. It's getting busy out there. Of course Yun is invited as well!

Ha Ha! Phil, you owe me nothing. But it would be great to have lunch with you. Adrian can join us as well! G

Where are you taking me to lunch? :)

Is the camera stolen?

I hope the family sues the studio, the producers, the director and the 1st AD. They all have blood on their hands. The crazy thing about this is that all IATSE crew members (thats us) are required to take specified safty classes or we are not eligable to work on a union set. I have no problem with this. I do, however, have a HUGE problem that the DGA (directors, producers and assistant directors) are not mandated to take these safty classes as we are. This must change! G

I got my 2 perf Arricams straight from Arri Munich, Germany. G

Thank you for sharing this terrible news Paul. Having lost 3 camera people to accidents in my career, this really hits home. We as a camera team member (or production team, for that matter) have the responsibility of looking out for one another. We have the responsibility to speak up when things don't seem right and are plainly unsafe. Don't assume that those in charge are completely capable of safety when they are under pressure to deliver. Only we can be the voice of reason regarding what's safe and what's not safe when it comes down to the moment. You can't be silent regarding this. Safety is ALL of our business. G

Dom is right on as usual! G

The hairs were dealt with in post by painting them out. Otherwise, we never would have finished the movie if we did extra takes for every hair. As for the K35s, let me direct your attention to the "AMERICAN HUSTLE" topic under the "On Screen" board. A lot of discussion regarding those lenses there. G

Here is a great view of the 2 perf gate vs. the 1:2.40 frame lines. This view is looking through the lens port of an Arricam LT with the reflex mirror half way in so we can see the reflected ground glass on the right compared to the actual gate on the left. There is no space to speak of outside of the frame lines. The full gate is the format. This is why gate hairs are such an issue. I took this image while prepping AMERICAN HUSTLE.

I used 2 perf on both David O. Russell movies that I was the 1st AC on. THE FIGHTER was shot with the Aaton Penelope while AMERICAN HUSTLE was shot with Arricam LTs. We never had an issue with jamming but gate hairs were inevitable. No matter what precautions you take, you will have them. Also, 2 perf is considerably noisier than the other options when considering sound. G

It really applies to all lenses. And we are definately overthinking this. Infinity/wide open is simply a good habit to get into when storing lenses. G