Demian Barba

not very related to the discussion at hand, but does anyone knows the stimated weight of the hvx-200 with the mini 35, a carl-zeiss super speed prime, studio mattbox and focus pull system? thanks, demian

Hi, I am currently shooting a low-low-low budget feature with two cameras. This is something we decided to do to get as much coverage as possible in our tight schedule but we have not being able to do exactly what we wanted for sound considerations. Like shooting two different characters far apart from each other from different angles. We cannot do it because the boom can only be in one place at a time and cannot travel that fast (especially considering that most of our light comes from above and the roof is not too high. So, my question is: how do you normaly record sound for a two camera shoot? with two booms? or do you just not shoot simultaneously actors far apart? thanks, demian

Just a thought: Why does the camera does not show you the full frame. It is made for the indie low and micro budget semi-professional market, right? Like the kind of productions I work on, with small crews and tight schedules. The kind of sets that not always have a field monitor and even if we do I cannot be checking the monitor all the time to see if the dolly tracks are in or not. best.

hi, thanks for answering my question. i wonder if it would be a good idea to create a black matte to crop out the overscaned image. is that possible? i rather end up with a frame that looks a little small for certain displays (meaning with small black bars to the sides) rather that having to wonder if every time they show the film the audience will see equipment. i am aware too that this is something easily solved with power windows, since the equipment is really only in that little safety area. though i imagine that taking care of it in a shot by shot basis will be more expensive than just applying a matte or zoom-in equally for the whole project. any thoughts on this? thanks again.

Hi, I've noticed that the viewfinder and LCD of the DVX-100a shows a smaller frame than what the camera records. Like the one you see in a monitor set to underscan the image. Is this some kind of safety area that i won't see once projected or viewed on a t.v? or should I do something in post to get rid of it? The editor of one of the last projects I shot with this camera. Has pointed out that he sees equipment at the edges of some shots. Equipment that I did not see on the camera while shooting. We did had a field monitor though I decided to pay no attention to the underscaned image. Did I do wrong? Thanks.

Hi, I've noticed that the viewfinder and LCD of the DVX-100a shows a smaller frame than what the camera records. Like the one you see in a monitor set to underscan the image. Is this some kind of safety area that i won't see once projected or viewed on a t.v? or should I do something in post to get rid of it? The editor of one of the last projects I shot with this camera. Has pointed out that he sees equipment at the edges of some shots. Equipment that I did not see on the camera while shooting. We did had a field monitor though I decided to pay no attention to the underscaned image. Did I do wrong? Thanks, Demiah Barba

Hi, I was browsing the Kodak website and could not find the 7248 listed in it. Is it being discontinued? thanks,

I completely agree with you David, though I've never being in a situation like that. I've being in the opposite though: having a nice 16mm camera package, a crew of students, an un-dressed location, an insufficient lighting kit and actors wearing their own wardrobe without any make-up, not even a little powder. I am looking forward to the day I can select a format/camera considering mostly what works better aesthetically and narrative for the project and having small budget considerations. Best,

paid prep? hehe... nowhere near that. not completely related to this, and not like i am thinking of getting one anytime soon, but when is a good time to get an agent? do you look for them, or they find you? " The bad part of it is that right now most of the people ask me for shooting video, that's driving me crazy" do not underestimate video, it is a given we all like film more. though right now my priorities are (in order of importance): crew, production design, lighting package and then format. lately i've found myself convincing directors/producers with tiny budgets to shoot video instead of film and put that money elsewhere. thanks,

Hi, Thanks for all the responses. Please don't get me wrong, working as much as possible is my main objective right now. But I have rent and bills to pay. And New York is not cheap either. I am just trying to figure out how much should I ask to be taken seriously and yet be affordable enough for the budgets I work on. So far only a couple of jobs have made me an offer. Usually they ask for my rate way before I have any idea what kind of production are they running and sometimes even before they bother to see my reel. A lot of times I never hear back from this productions again and always wonder if I was to cheap, to expensive or just not right for the project. This year I have worked with very different budgets, from $25,000 to $800, my rate changing only $25. It is confusing, and I am getting tired of mopping floors and carrying ice buckets for a living. I guess I can rephrase my question like this: If, as a producer, you'd see my reel and my resume, how much would you except my rate to be? sorry for the broken English. thanks for the encouraging words. Demian Barba www.demian.sinergism.com

sorry, my reel is n lnger availabe at the address above. it can be seen at: reel/resume thanks, demian

Hi, I have being DPing since I finished filmschool three years ago. Only a year and a half ago I started to ask for money, before I was working for free. I have a decent reel and experience (3 ultra-low-budget mini DV features and 16 shorts, most of them in 16mm). I try to keep myself cheap ($200) so I can shoot as much as I can, but I also want to get some decent money for me and my crew. And also want to quit the bar soon. I wonder if asking for more money will bring me better jobs or just the same but better paid? I have no equipment to offer, just crew and good conections. There is a link to my reel below. I'd really appreciate anyone's two cents upon this. Thanks, Demian reel a smaller version: smallreel

Thanks, I appreciate the input. Demian Barba

Hi, I heard of this practice before. Anyone knows where I can get both Kodak and Fuji stocks? I can't see the use of shooting test with these if they end printed on paper. Is it possible to make a positive print? Then I can cut the individual frames and treat them as slides so I can project them. Or perhaps I can scan them put them on Final Cut and then to Mini DV so I can see them on a monitor? Are any of this ideas good and worth trying? I am aware that the still frame is bigger than the motion picture frame and therefore fine grained and sharper. But I imagine that all the other qualities of the film stock will remain intact, including exposure latitude. I am hoping that it is cheaper than collecting a bunch of short-ends and that I can get hold of a wide array of stocks. Thanks, Demian Barba,

thanks Phil

Hi, A digital slow motion of %50 in Final Pro Cut would be the equivalent of how many frames per second in film? Thanks, Demian Barba

Thanks for replying David, No, I don't mean a big dayight balanced flashlight, but smothing like the ones lister below. http://www.circuitcity.com/ssm/NexxTech-Xe...roductDetail.do http://shopping.discovery.com/stores/servl...rtnumber=697326 I guess I should rephrase my question: Can anyone recoommend a very powerfull flashlight that won't cost over $50. About the film stock: it is a tiny script (4 1/2) with a constrained budget. We will try to tackle the short in five 400" cans. Two third takes place at night, one at dawn. I would like to stick to one film stock. I thought the new reala 500D would be have a finer grain that the eterna 500T, but if that is the case I'll consider swiching.

Hi, I will be shooting a scene in which burlgars break into a gallery at night. I want to use the flashlights they carry as the main light source by having them aim at bounce boards placed right outside the frame. I attached a floor plan. I would apreciate any comments and flashlight model recommendations. We will be shooting in s16mm with the new reala 500D film stock and carl zeiss super speeds. I am considering pulling the stock one stop to see more into the shadows and lower contrast. This will go to telecine only. Thanks Demian

thanks for the feedback. i agree, it feels a bit long. and i'll have to add to more projects soon. what lenght you'll recommend? it is around 7 min and a half now.

Hi, I am have been following this forum constantly for the last year and learned a lot from it. My reel just got on line and I just want to get some feedback. http://www.demoreelnetwork.com/demianbarba/ Thanks in advance.

hi, i have used the dvx 100a very often lately. i found it very user friendly and i am very pleased with the results. i would not go as far as asying that i love it. i actually have some mix fellings about it, but those are the result of all those imbeciles who just because they have a crappy script, a dvx 100a and a couple thousand bucks they think they should make a movie... but let's not blame the camera for that. so far the only, more or less constant, problem i had is with timecode, which sometimes regenarates and sometimes repeats itself. as for the stand by, if you go to the menu, under "other functions" you'll find "tape protection". there are two options: "power off" and "stand by". the first one is the annoying one that turns the camera off every five minutes. i agree, that little knob/button for the menu and VCR controls can be very frustrating, but if FCP was giving you problems i doubt it is the camera's fault, specially if it is brand new. perhaps the cable, perhaps the firewire port in the cpu.

thank you people for your answers. we ended up using four hours of color correction plus three hours for the lay out. we found our desired look quickly and went on to match everything else. thanks again

hi i'll be having my first supervised tranfer this wek and my producer is asking me how much time do i need? we have around 6000 ft. of S16mm film (15 cans). I do not plan to manipulate the image too much in telecine (we did tests prior to shooting and decided to pull the film one stop, all my lights were gelled on set and there is a gray card before every set up), i just want to keep the contrast and exposure constant, as well as throw a window here and there to darken certain areas of the frame. any help is truly apreciated thanks

thanks for your response David. this tool will definetly prove to be very handy since the location was tiny with white walls and low ceillings and therefore i could not flag the wallls as much as i would have liked.

sory, didn't meant to post twice. god knws what happened.