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Brad Grimmett

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Everything posted by Brad Grimmett

  1. Do you really think $800,000 is enough to release 40 films a year? Even for small direct-to-DVD projects, I'd think you'd need somewhere in the range of $10-$15 million at least. And if you want to produce them too you need at least 30% more. How many films do the studios release every year on DVD? 10? 15? I'm sure they'd release more if they could make a profit doing it.
  2. I saw an billboard ad for Oakley HD sunglasses today. I found it quite ironic.
  3. OK, pretend I'm a complete moron (which I may or may not be) and just answer the question....please. She doesn't need scopes or to record to the hard drive, or anything fancy whatsoever. She's working at comic-con and my assumption is they will have a camera set up on sticks and they want to monitor it with the Macbook. To re-iterate, they want to use the computer as a monitor and nothing else. Is that possible without being an electronic/hardware/software/video expert? She is not.
  4. Yeah, but make sure to do the "Pro" bleach and not the "amateur" bleach....the "Pro" version offers much more angulation and tiltificationism. You get what you pay for.....
  5. "hey, do you know if its possible to use a macbook pro laptop as a monitor via cable to a digital camera - sony pmw-ex1?" A director friend of mine asked me this, and I don't know the answer. Can this be done, and if so, how? Thanks.
  6. Dealing in absolutes is a dangerous thing, and almost certain to be proved wrong at some point. It also has a very good chance of rubbing people the wrong way. I think we as Americans should say, "America is the best" much less often and instead try to concentrate on being better.
  7. This should be an easy thing. But when a 1st AC, 2nd AC, DP, operator, and DIT can't figure it out, something aint right. It wasn't our first BBQ.
  8. The "PRO" version offers "angulation", whatever that means. That video is hilarious!
  9. True, but this doesn't really mesh with what you said below... So, you want realism, but not realistic? I'll ignore for the time being that this particular "stabilizer", or whatever they're calling it, won't make anything any smoother. The fact is, if the average person shot video on there cell phone it would look like amateur video. If you want to actually stabilize a camera, you may as well do it right. I can mount an iphone to my steadicam the same way I can mount a Arricam LT. I don't really care what kind of camera I use, but it won't look like cell phone footage shot by an average person, it will look like cell phone video shot by a professional steadicam operator. Anyway, it's just some stupid thing they built to sell to stupid people. Not you James, just in general. Like I said, a $50 Cardellini is exactly the same thing, except it probably has a firmer and more secure grip on the phone.
  10. You can just buy a Cardellini for $50 and have almost exactly the same thing.
  11. The downturn has been in full swing for well over a year. In the past couple weeks I've been up for two long term shows (one TV show and one feature). One was shooting in Atlanta, and the other was shooting in Spokane, WA. In both cases (one being "A" camera/steadicam, the other "B" camera/steadicam) I would have been one of very few crew members that wasn't local on both of those jobs. This is completely typical of what's going on right now. The secondary effect of this is that it's a producers market right now. Many many great crew members aren't working right now, so every show has there pick of the litter, and they get them for a cut rate. So now there's less work for less money. Hopefully it gets better soon!
  12. Got it. I was really confused.
  13. Well, you might be on your own regarding those thoughts. Sorry, but a videographer is not the same thing as a cinematographer. They're different words for a reason. They mean different things and they make a difference.
  14. What's with the Bruce Almighty thing? That show was Panavision, and even if it wasn't, they wouldn't be using a BL2.
  15. Painters tape generally comes comes in a variety of different strength tackiness, most of which are quite a bit less than paper tape I believe. But if that's all you got, that's all you got. It's not the end of the world.
  16. Not everyone gels perfectly all the time. Hopefully next time you'll be happier.
  17. If I were doing the shot I'd probably just do it blind, like Tony. It's not that hard once you know your lens size. I've done it in a few strange steadicam situations in the past and was happily surprised with the results. I suggested the VR glasses as an option, but I don't think I would use them myself.
  18. That is unfortunate. I don't blame you for feeling that way if the guy was that big a pain. I feel the same way when I'm operating both steadicam and conventional. But if the DP is chomping at the bit to get at the camera it doesn't matter how good the operating is, they just want to do it themselves. I know this is true for a certain amount of DP's, and that's fine. But the truth is, it does save time and money to have an operator, especially on features and TV. When you're trying to shoot many many pages a day and you have to light as well as figure out that really tough dolly or crane move, it just takes a lot longer to do both things. If that's a luxury that can be afforded, then no problem. I don't think it matters as much on commercials.
  19. How are you going to monitor it? Are you going to be wired? You might consider trying some VR glasses. Seems like they would be perfect for this type of thing.
  20. The second you wrote that sentence the FBI was alerted. Watch your back Bob! :o
  21. The fact is, it doesn't always work. My AC's have had problems with this on a couple of shows. The DIT had no solution other than to change it manually. Just keep your eye out and make sure it changes when you want it to.
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