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Luc Allein

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About Luc Allein

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  • Birthday 04/16/1979

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  • Occupation
    2nd Assistant Camera
  • Location
    Los Angeles
  • Specialties
    Trying to learn as much about camera assisting as possible, on the little free time I have, so that I'm capable enough to work on absolutely anything and personally feel like I'm worthy to be in the prestigious Local 600. My favorite DP's are Robert Elswit, Roger Deakins, Janusz Kaminsky, and Wally Pfister. Those are my boys.

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  1. Hell yes. Thank you so much, it def helps. Ive been trying to get these questions answered on set for days, but everyone is either too busy or gives me a very vague explanation & goes through it way too quick. To make it worse, of the 2 guys I asked, I got two different responses which confused me even more. So that's one question down. How do I get the proper balance for the day then? I know there's a formula to it, just like there's a formula to get my "Total" on the camera reports. What do I add & subtract to get the proper balance for the day?
  2. "(Say you rolled 380 ft on a 400 ft short end. The "Good" is 380; the "Waste" is...." *I made a typo on that post above, I meant to say "400ft roll", not "short end". There's no goddamn "edit" feature in these posts. I didnt wanna make that post any more confusing than it probably already is.
  3. Here's more of a question. At the end of the day, youre adding up all your camera reports on your film inventory sheet, how do you add them the right way? My Inventory sheet is pretty simple. It has the column headings going across: "Roll" , "Amount", "Good", "NG", "Waste" , "Total", and "Short End". I know you start with the "Amount", what you looded. For the "Good" column, I know how to do that too. (Say you rolled 380 ft on a 400 ft short end. The "Good" is 380; the "Waste" is 20ft) "NG" is for when we do circled takes, which we aren't doing on this. This brings me to the dreaded "Total" column at the end. What is the "Total". Is it just the number from the "Good" column brought over? I'm guessing "Total" is the amount of film you're actually sending to the lab. So if 380 was "Good" out of a 400ft roll, is that also then the "Total"? Or is there some sort of formula to get the "Totatl"? None of my damn numbers are adding up right, so Im doing something wrong. Even though I know how much film I actually have, my paperwork never seems to reflect it properly. If I knew what the hell went in that "Total" column, I'd have a better handle. Question #2 is, assuming I figure out how to do the "Total" column properly, how do I then come to the proper "Balance" of today? I remember a loader telling me there was a formula to get it, and there were ways to check your math too. Like "Your 'Good' + your 'Waste' should equal your 'Amount" or something like that. How does this work?? What do I add up to get the proper balance? Im really close to having it but Im just a little off and it's messing up the works and quite pissing me off. If this has made any sense to anyone, and I can get you to make some kind of heads or tails of it, I'd buy you a Starbucks coffee in return. Or meet with you at a Starbucks so you can you look at my stupid paperwork quick and then tell me what the hell I'm doing wrong. (Then I'd buy you coffee AND a muffin.) Thanks guys. Love ya's.
  4. Yesterday I started on a small easy job loading for 35mm. Problem is, I havent loaded in a year, and before THAT it was a year too. I loaded for a while fairly regularly for a few months in 07, and that was it. I forgot most of the damn paperwork protocol. I spent most of the last year working in digital and dealing with BNC cable as opposed to film mags. I have the biggest problem tabulating the friggin numbers on the reports In the "Good" column, what do you add up there? It's the circled takes, right? If there's no scripty or it's "print all", how does it work then? I totally forget. The No Good column is only for features, right? Thats when you add up the numbers that aren't circled? If I remember, this column doesnt usually get used, right? Waste, I pretty much know how that one works. And Total is fairly obvious. But I keep fudging it because I dont know how to get the proper "Good" amount. How do all these work again?
  5. Um...not well. It was why I moved to LA. However, I was tinkering with the idea of going there for a year or two and then coming back, hopefully with a union card. Its not just to chase work, although that's the goal. I think it would be a cool life experience and...I dont know, adventurous. Im kind of psyched about the idea of going there for a bit. I just didnt know if someone on here knew the deal or had contacts or could say for sure "Hell yes, you'll come out ahead..." Ive been trying to get into the union for years now and only had a handful of days to show for it. Guess Im just gettin frustrated.
  6. It's been recommended to me in the past, and it was very strongly driven home to me by an AC yesterday. He told me that they're so in need of camera people for it being so busy there that they're putting ads in the paper trying recruit union members. Im not sure if this is true of course, but the more he talked about it, the more it got me thinking about it. Ive been in LA about 4 years, working camera stuff when I can, which is to say fairly sporadic. Most of the guys I know are union, so I have to try to finnagle my way onto union shows as a camera pa most times. Here and there I get commercials and low budget stuff. I worked at Panavision for a year too. Im making progress but at the same time Im really spinning my wheels. The union gets more exclusive every year, and the new trend of lower end digital cameras saturating the work place and offering low rates and often no pay is not helping. First off, is anyone on here from New Orleans that can confirm or give me some intel as to whether or not it's really this apparent mecca of film making, and would I have a good shake at some work? Second, if I invested some time down there and joined the union then moved back would I still be eligible to work here? And more importantly, has anyone on here ever done this or know of anyone that transplanted to New Orleans and wound up successful? Honestly, it's kind of exciting for me the thought of gettin out of LA for a while and experiencing a whole different area of the US that is new to me too. I know there's a Panavision there too, so that's an option. Any thoughts would be appreciated. Thanks peeps!
  7. I got fired off my first full official gig as a 2nd AC on a decent sized movie in Sept. I've never been fired from anything in my LIFE. I was absolutely infuriated, I did the best I could and did a damn good job. (It was out of my hands; I was their THIRD 2nd AC in 2 weeks, so that should tell you something...) I drove home feeling like absolute poop. I was SO happy to be on this thing and to be working, not to mention the fact I needed the money terribly. The more I thought about it, the more I just chalked it up to experience. Everybody gets fired at some point or another, from a guy like me up to Robert Elswit. It's just a part of life in this business. It really sucked and it set me back, but what can you do. Gotta roll with the punches, baby. You'll be ok.
  8. Thanks man, I'll check out that link. I def would like to get more into the digital side of things, Im surely gonna have to learn that stuff...
  9. Hang out at Panavision, they'll let you practice loading in the dark room. Good luck trying to get into loader, it's harder and harder these days. Ive been trying for 3 **(obscenity removed)**in years and still havent gotten any real/steady work. Learn digital before it's too late, in addition to film.
  10. The bunch of times I did to load, probably like 7-8 times on various projects (no features or anything) I wound up getting the gigs through Panavision when I worked there. The writers strike hit, I moved back east for a year. When I got back this Sept, it was super slow and most of my contacts had kind of dried up. Ive been getting on what I can and doing tons of freebees but I just cant seem to be able to break into a loader spot after 4 years of on and off camera pa/camera assisting. Its made worse by the fact that film seems to be an ever dwindling medium (used to at least get jobs off craigslist, now its all red camera) and a lot of commercials nowadays make the 2nd ac load as well. They wont spring for an actual loader. Its really, really frustrating. I just cant get a shot or a steady gig. I just need to get more familiar with the paperwork aspect, the acutal loading part is easy. Ive never exposed any film or held up production or that kind of thing, Im a decent loader for being somewhat of a rookie. Here the last thing I got to load on, my only loader gig this year and it was a one day freebee gig. (Yes, on a Micheal Bay commercial on one hour's notice and the first time loading in over a year. Plus I get there and Paul Cameron is the dp. No pressure, right?) http://www.youtube.com/watch?v=aPmACq0Cvvk Anyway, does anyone have some kind of 'in' to a steady loading gig I could sneak onto. Or, may I be so bold as to offer my services to anyone on here that might need one? Id even work for free for the experience. If I mess anything up, which I PROMISE I will not, I will at least buy you a case of beer as some sort of repentance. Im completely unemployed right now anyway so Im dying to get on any kind of set. Ive heard Hallmark Channel is a good way to get in, Ive tried like hell to get involved with them but I cant get in touch with anyone. (If anyone on here has any contacts, hit me up) I have a good resume and can provide references. I just cant get any work and the guys that used to call me once in a blue moon have completely stopped. Its heart breaking, to be honest. I dont know what to do anymore.
  11. He just did the upcoming Sam Jackson movie "Unthinkable", he's a SUPER nice guy. He even came to the wrap party after at the AC's house, which I couldnt believe and regaled us with all kinds of Robert Altman stories. (I camera pa'd for him)
  12. I dont see how the Wexler/Carradine fight has anything to with anything Im saying. What happened on Terminator Salvation was the OJ Simpson case of a monumental DP/actor fight. It was household news, it had people saying they didnt even know what a 'director of photography' was. As a kid, my father once told me "Dont piss into the wind." I guess Im alone on this one, so I'll move on.
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