Brad Grimmett

I was told earlier this year by ZGC that you can't buy regular S4's new anymore, just S4i's. The price difference is staggering. And after a bit of searching I found that a set of S4's is almost impossible to find used.

Well I do, and I agree with Nathan. The original poster asked a question directly related to cinematography. Has it occurred to you that you might be the only one that is bothered by this thread? If the topic being discussed bothers you so much, why do you keep posting and contributing to it? You can, but please step out of the pulpit and stop preaching while you do it. The only posts offending me in this thread are your assertions that "intelligent" design is anything but fantasy. Me: "How did we get here?" You: "MAGIC!" I'm sure there are plenty of places to preach on the internet. This is not one of them.

It won't link photos from Flickr unfortunately. I think I remember that I uploaded my avatar right from my computer. No link necessary.

There's no need to add a jib to the dolly....just use a dolly in low mode.

I would agree with this regarding FOV. But most 12mm lenses will have at least a little distortion, which we don't have with our eyes, and when you see a shot from a 12mm projected it doesn't seem like it matches our FOV. The truth is, our eyes are so different from lenses that it's almost pointless to make the comparison I think.

Under 5 minutes is the norm. But if you only have enough good stuff to make a 3 minute reel, do that. There is no use in putting 2 minutes of so-so footage on your reel.

3 day weeks are unfortunately very standard for both rental houses and owner/operators. You can stick to your guns and demand a daily rental, but it will cost you a lot of work.

So we're meeting tomorrow at Libertine on Sunset @ 7pm. Here's the website. It's just west of Crescent Heights next door to the taco place. Come on by for a drink or two. It doesn't open until 7, so don't come too early.

The internet is full of "facts".

Thanks. Yeah, I figure I'll leave the high res up there for anyone who really wants a better look. I'll definitely keep the low res up though.

Hmm, that's strange. It looks fine when I play it. It was 1.85 and as far as I know is still in the correct aspect ratio. I guess it could be a bit off, but I don't think so. I'll check it out.

John Brawley is in town shooting a movie, and he and I are going to have a drink on Friday evening. It would be great to make it an LA cinematography.com get together. Please let me know if you're interested and I'll post a time and place. I'm thinking 7ish, but I'll post exact details when I sort them out.

I've finally stepped into the 20th century and started building a website. As of now all I have up is my reel, which I guess is the most important part anyway. Have a look. There is a high res version and a lower res version. Thoughts and suggestions are welcome. bradgrimmett.com And please let me know if the download times are very long.

Most of the time this happens when you are hired on a job before it turns union, which isn't that uncommon here in LA.

Seinfeld did this in an episode. Jerry called the girl he was dating "two face" because sometimes she looked good and sometimes she looked bad depending on the lighting. Here's a link: two face They did it with toppy hard light mostly.

I didn't mean to say that they wouldn't except the union days... I assume they will. I've just never heard of anyone getting into the 600 on the 30 day plan. I've heard of grips and electrics getting in that way, but never anyone from camera. That doesn't mean I'm right, just that I've never heard of that happening.

Those links don't work. Here's one that should: Forbes Notice that it was written on July 22, 08 and it says that Will Smith made $80 million over the course of the YEAR, and Johnny Depp made $72 million in a YEAR. Other articles also refer to these high paid male actors as the "$20 million club". That supports my belief that no one is getting anywhere close to $70 million upfront to star in a movie.

Dexter switched to the F23. I'm not sure about the other shows.

So you're saying that the story and statement by Oprah was that, before back end, Will Smith got a $70 million pay check? I've searched and searched and can find no evidence of that at all. I wouldn't doubt at all that he got $70 million when you include back end, but I'm very skeptical that he got $70 million upfront, especially considering those deals are all pay or play. Can you include a link to that story please?

I've never heard of Local 600 admitting members on the 30 days program, only the 100 days. But it's always best to call and ask.

Where did you get that #? I'm no expert, but I don't think that's correct. For example, the budget for Hancock was $150 million, which means that if what you're saying is true, Will Smith was getting about 45% of the budget. I don't see any way that's possible. I did a quick search and can't find any evidence that Will Smith's quote is $70 million. Can you post some info that supports that claim?

Uh, yes I did. What makes you think I didn't? I know you did, but you have no basis for saying that. OK, so you talked to two union members and now you're an expert in union practices in Los Angeles? Why would you sign a SAG agreement if you want to use non SAG actors? That doesn't make sense.

Well, I don't work for the union, so I really can't say for sure. But you're probably right about jobs that happen out in the middle of nowhere. I was mainly referring to jobs in LA.

You're wrong. Plenty of non union jobs shoot at studios all the time. Who told you that? How does someone not knowing who a union steward is make the union gutless? That doesn't make sense.

Yeah, but they try and organize every show. I don't think where a show is shooting has much bearing over the unions interest in turning the show.