Brad Grimmett

I don't think there's anything sudden about it. Will Smith has been a huge star for over ten years now.

You can get a 435 for about $100k.

I had three or four different letters, and contract services lost every one of them, one at a time. I had heard this happened a lot and had copies too.

Really? I think you're a bit confused. I've never heard of a video camera with a built in lens that wasn't a zoom, so my assumption is that you've been using a zoom. So when thinking about lens sizes, just think about whether you would zoom in or out for a particular shot with your camera. If you would zoom out, then you would probably want a wider lens like an 18mm or 25mm. If you would zoom in a little you would probably want somewhere between a 50mm and a 100mm. If you would zoom in a lot you would want something longer than a 100mm. That's talking about 35mm. When thinking about anamorphic all of the lens sizes would be longer. When thinking about 16mm all of the lens sizes would be shorter. I hope I'm answering at least part of your question, and hopefully it makes sense.

No, Tim runs the show. I just clean up around here now and then. Brian was simply saying that he was going to shoot at the event since he got media credentials. It's not as if he was campaigning for him or encouraging anyone to go. I think it's pretty cool that he managed to get a press pass for the event. They don't just give those out to anyone who asks.

No, it's just off topic, not WAY off topic. I'm moving it. Why so angry?

Uh, no. Entourage is shot on 35mm.

It was shot on 35mm using Arri BL's and Mitchell BNC's and some modified lenses that were superfast so they could shoot in candlelight. I would guess it's HD, but I'm not at all positive. It's not film. I've tried my best to never watch the show, and I've succeeded so far. It was shot on 35mm. I don't think there was anything too different about the way it was shot. This was shot on HD. I believe it was shot with Varicam's, but I'm not 100%. My friend Anthony Hardwick shot it and he has used Varicam's in the past on other projects with Larry Charles, so my assumption would be that they did the same thing on this film. I haven't spoken to him about this exact subject though.

While that may have been the case in the past, it's not often the case these days. TV has gotten to the point where steadicam is so common that everyone expects you to be able to do any shot at the drop of a hat. I haven't worked on that many shows, just a few, but I know from my experience that time is something that is very valuable on TV sets, so you have to be ready for anything and be able to pull it off quickly. I'm not complaining, but it's not as much of a dream situation as some people think it is.

I'm glad it was helpful. Shoes sound arbitrary, but you realize how important they are once you wear the rig for a few days in a row.

Can you please stop posting random things that have nothing to do with Cinematography in the General section? Thanks. I'm moving this to off-topic since we don't have a WAY off topic section.

The flyer is a good rig with a two stage arm. I've run with my steadicam on many occasions. My best advice for not breaking the rig would be, don't fall. Sounds simple, but that's really all there is to it. You and your friend should both be aware that running with steadicam, and operating a steadicam in general, is not easy. If your friend is new to steadicam and thinks he'll just be able to buy a rig and do running shots, he's being naive. He should do a workshop at the very least before attempting to do a running shot.

While I agree that communicating with the actors and crew is important, I don't think it's more important than the actual operating. Having said that, I don't have an operating reel. I have a steadicam reel, but have never done a conventional reel. I probably should, but most of my work is both conventional and steadicam, so if they see that I can compose a nice shot while doing steadicam I kind of figure they know that I can do the same without the rig on.

That shot is easily done with a crane and a remote head. You could try to use a cherry picker or something like it, but the stops and starts with those types of cranes is often very rough so I doubt that would work for your needs. The only other way I can think of would be some kind of wire rig with a remote head.

The BUZ may work for you. BUZ

Thanks, but they're not in the photos on the website. They just went up the other day.

Were you shooting hand held? I can't see why the weight of the camera would matter unless you were hand held. In my experience, a completely static shot is more noticeable than a shot that makes subtle adjustments for things like headroom, which is essentially what you're talking about. I think most of the time those slight adjustments are needed to keep a shot properly composed, but when you do do a complete lockoff it stands out and can have a nice effect.

For those that are interested, and living in Los Angeles...five of my photographs have been hung in a club on Sunset called The Libertine. It's across the street from Chateau Marmont. Check em out and let me know what you think.

Goro, Please change your user name to your real first and last name as per the forum rules. Thanks.

Cool stuff Tom.

They may have had the combination of a splash housing and a spinning spray deflector for that shot. I can guarantee they at least used SOME water protection for the camera. They didn't just stick it in there and hope no water hit it, that's for sure. I believe spray defectors were used on I Am Cuba (1964), so they were likely around at the time Psycho was shot, although I'm not 100% about that. The lens used for that shot looks like about a 50mm to me.

Funny, this wasn't the case until just recently. I actually just got the email about it yesterday. I bought a PS3 mainly for the Blu Ray. Of course, I've been known to play some games too...

Hi Allyn. I would speak to the rental house about this. If that fails, try Arri.

That didn't actually air on television somewhere did it?! Forget the grads....they're not even in the top ten of what's wrong with that video.

There is an interesting article in this months ICG magazine about a commercial for Nascar shot with miniature cars that might be helpful. You should check it out.