Gregory Irwin

Question: do the same rules apply when calculating flicker free "windows" for digital cameras as we do with film cameras? Thanks... G

We have a mandatory state run insurance called "worker's compensation". If you are hurt on the job, the employer initiates the medical insurance to cover the employee's medical expenses and disability if necessary. But this only applies if you are an employee (on payroll). This is why the studios won't take on the liability of unpaid labor. I always have a camera PA and that is always a paid position. G

This has been very interesting to me. What strikes me is that in the "Hollywood Studio System", we cannot hire unpaid labor. They must be on payroll to satisfy any and all liability issues. I'm sure that this problem exists in the non-union, independent markets but that would never fly in the big leagues. G

Actually John, Chris is very much a cinematographer even if he isn't getting the credit for it. He is the driving force behind the lensing style. He is extremely educated in the craft. Having said that, Hoyte, who is the cinematographer is a very good talent. He is a minimal lighter with a straight forward approach without drama. I like him. This is our 2nd movie together - THE FIGHTER being the first. He will go far. G

Yeah, the FAST movies are terrific jobs. And you're right Freya, they are big. I've worked the A camera on the first unit on 3 of them including the USA portion of "6". The cinematographer, Steve Windon is not only a terrific cameraman but he's a wonderful guy who makes coming to work a joy. I've had the privilege of working with him since the mid '90s and "Deep Blue Sea". It was a tough decision not to do "7" with him which is currently filming. But it was time for a change of pace and Chris Nolan was calling. Chris is a very different experience yet very rewarding. I'm just grateful to be in a position to have to make those kind of choices. I'll never take that for granted! Cheers, G

Having spent a lifetime racing ocean sailboats all over the world, I know that we Americans (that know the sport) recognize the Kiwis as the best in the world. Dean Barker is one classy skipper! I know that he was heart broken with the loss but he and the team will be back. Cheers to Team NZL! Greg

Steve and crew has employed Otto Nemenz for F7. They are using Alexas and Master Primes. I know this only because I usually am Steve's key 1st AC (since the mid 1990s). I had to pass on this project due to taking the key 1st AC job on INTERSTELLAR. I was still involved with helping him crew this current project. I hear its going very well. G

There's always Delux and Fotokem... G

Have you checked the camera essentials.com website? Patti Harrison (owner) just made several custom weather covers for my movie, Panavision and IMAX and they were very reasonably priced. They even incorporated a neoprene front that allows my Cinetape tubes to poke through and not let moister in. She may already have an Alexa cover designed and ready to ship. It's worth checking. G

I hate to be the party pooper but there is no way I would ever trust any remote focus unit other than the Preston. The lens mapping technology allows me, as a focus puller, to use one pre-printed ring and that results in a common lens throw whatever the diameter is. As a former Bartech owner, I rely on the sophistication and simplicity that the Preston offers. And it currently is a complete system. I'm not waiting on any hypotheticals of future developments. The ergonomics are also terrific. That's why I am a multi Preston owner. At the big budget level of production, there isn't one focus puller that I know who would settle for anything less. G

That's my favorite cinematography book! The best. G

I get it. It seems like very little in return for the complications and challenges of anamorphic. Especially when you're sacrificing scope in exchange for the 1.85 format.

David, What is the purpose for shooting anamorphic into 1.85? I've never understood this. G

Hoyte will be "stellar" for this project. He'll do a great job. G

This business has always been a den of thieves. Nothing new here. This is the exact reason we belong to a union. We have representation to handle the "not so nice" aspects of the job and we keep our noses clean. And we ALWAYS get paid on time. G

It sounds like an easily correctalble problem by a certified lens technician. Basically with zoom lenses, the front element group controls focus, etc. on the long end of the zoom while the rear elements control the wide end. The middle zoom range is controlled by what's called a field lens. Somewhere inside of the barrel, at least one of these groups is out of collimation. it's an easy fix. G

I've used the scorpio and didn't like it much. Not ergonomic and too complicated. In general, it didn't work as well as the Preston. The Preston is tailored to ACs and quick to set up. It also integrates the Cinetape so one can see the display numbers on the handset allowing much more freedom from the camera. G

In other words, in terms of 35mm lenses, a 25mm lens on the 16mm format would have the equivalent angle of view of a 50mm lens. Great discussion! G

Very true. You mean like, using 35mm lenses on the 16mm format, correct? That effectively reduces the particular lens' angle of view but it's more of a product of the format - not the lens. G

Hi James, I've been an First AC for a very long time and have a pretty good comprehension for optics. Let's begin by saying that the aperture has nothing to do with angle of view. When we speak of aperture, we are talking about the iris blades that control the amount of light and the shape of the path of the light passing through groups of glass elements to a measured film plane (or sensor). The construction of those element groups create the angle of view of the "taking lens", not the aperture. You are correct regarding how the aperture setting affects DOF. But what it also affects is exactly how the light path is guided through the lens barrel. I'm going to generalize this for the purposes of brevity: Wide open apertures allow the light to refract and scatter more causing issues like internal flare (image looks milky; blacks are grey), chromatic and/or spherical aberrations (distortion) and possibly astigmatism. It can also adversly affect the DEPTH OF FOCUS, not field, in wider lenses. Most of this translates to images that don't look sharp and contrasty. There could be linear as well as oval distortion. When the light path is guided on a more controlled path to the film plane, such as with a stopped down or closed iris, many of the above issues are eliminated. This is due to the light passing through a much tighter "funnel" and not being allowed to scatter about. Again, this is very general. Basically, lenses perform at their best when stopped down approximately 2 stops from wide open. We try and shoot most interiors around a T2.8 to T4. There are times when we can't and we must live with all of the aforementioned optical issues. These issues are not necessarily guarranteed but they do have a much greater chance of occurring depending on what generation, manufacturer of lenses, etc. are being used. By the way, the red lines that you are referring to - they haven't gone away. They are there on your diagram on a different path to the film plane due to the aperture being closed down. I hope I haven't completely confused you... Greg

Hi all... I'm very proud of our little movie, SNITCH. It was a smaller production than our norm and one of the most rewarding experiences. SNITCH had a wonderful opening weekend outpacing all others in the box office's per/screen average category. Go see it. It's not going to win any awards but Dwayne Johnson shows that he is a versatile actor. He did a terrific job amongst an all star supporting cast. It's a very good picture with very good work. G

I only trust the Preston system.

Hello Duncan, We used all Panavision, super 35, 2.40:1 XL cameras. Primo lenses. You probably did see a Bartech. We also had several Preston's as well. These days I use only a Preston III. I pretty much live on it full time. I like the flexibility of not being tied to the camera and being able to move around to where I can see better. I have one handset that is set up for only me and I just change channels to whichever camera I'm pulling on at the time. Hope this answers your question. G

I failed to ask if this product still exists and if so, where would I find it? Thanks again... G