Michael Morlan

:) Yep. I had read some months before this shoot that you could drop the heads in water. I couldn't find that reference when I was considering the shot for the music video but with my layman's knowledge of electronics, I presumed that the high frequency of these instruments creates a very small electrical field in the water. So, I just did an acid test: I weighed a c-stand with the head in the water. (It floats, BTW.) I had an electric ready on the ballast switches, a grip ready to knock me clear, turned it on, and reached in the water... Nothing. I didn't die, at least not this time anyway. We had the Kino's, the actors, my camera assistant and myself in the pool with no ill effects. The only time I got a buzz was when I was adjusting the instrument within the water and adjusted one of the power clips on the end of a tube. I got a very slight shock, not even enough to make me clench. Someone took a picture of me in my bathing suit adjusting the light. I'll see if I can find them. A final note: Be sure to fully rinse your Kino heads off after being dunked in a pool then let them drain and dry in the sun. The chlorine corrodes the metal parts and the corrugated plastic housing holds water within all those tiny channels.

I've seen steadi-cam ops sitting backwards on the backs of trucks and even horses to get this kind of shot.

Actually, cardboard won't be enough to protect the beam. Use 1x4 or 2x4 cribbing between clamp jaws and the plaster. M

Coming late to this thread (as usual.) Some stills from a music video: HVX-200 to P2. As originally shot with morning sky dome and single Baby as kicker: After my creative grading/cc/filtering/etc.: Two Tweenies bouncing off the water for caustics (one with 1/2 +green) and two Kino 4Bank 4' heads underwater. As shot with available daylight (I held for a sunlight edge on her and clouds on him.) The gag is that each of the members of her retinue slow to a frozen stop as she continues toward camera, sidling around the two in front. As composited and with final grading: On the set:

A followup to this thread: While the production I was negotiating with when I originally asked for advice fell through when a new exec. producer came on board, I was immediately engaged in negotiations on another low-budget pic. I often work in free-lance mode so I built two different contracts; a union-styled contract from the various references I was offered and a non-union, client-invoiced version which I presented to this project and that, after minor revision, was signed. They are both attached. As with any legal document, consult an entertainment attorney. The billed version is designed with lots of financial hedges for low-budget, unknown producers who are likely to mismanage their shoots and thus their funds. ;) It was interesting explaining the postponement/cancellation clauses to my completely newbie E.P. I had to help her understand that it wasn't my responsibility to take a risk on the picture since I couldn't control all aspects of production. That was her gamble. :D Michael Deal_Memo___Director_of_Photography___Union.doc Deal_Memo___Director_of_Photography___Non_union___Billed.doc

I know this is probably heresy, but it is possible to shoot HD without the phalanx of monitors - with just a meter and exposure controls - just like a 35mm shoot. I've tried to introduce the concept of trusting me, the D.P., with the details of acquiring a usable HD image but have been generally shunned for such a notion. Gone are the days when the work of a cinematographer was an arcane art. Now, anyone and everyone on the set gets to comment on the work of the DoP. On the plus side, one doesn't have to spend time screening dailies. :lol: I suppose, as i continue to build relationships with directors, we will come to trust each other's art and vision thus allowing for a break from the current HD chain gang. (I'm working with a first-time director right now who absolutely must watch an HD monitor rather than watching the actor's performance with her own eyes.) Now, with the introduction of RAW footage coming off HD cameras, it might actually be easier to convince directors and producers of the value of speeding up production by releasing the camera of the tether to a black tent. Now, the DoP's choices are no longer cast in celluloid but can be changed to anything a producer or director desires. (Now there's a scary thought. How does a cinematographer protect his work anymore?) Michael

A bit late responding to this thread but... I've shot and composited a similar scene (without physical contact or a camera move.) You get into that stuff and you're talking motion-control cameras and many takes to match the handshake action. See some "Forest Gump" DVD extras for the challenges there. Read about the shooting, compositing and watch a clip of my short film with a dead character watching his living self: http://michael-morlan.net/pages/production...oheaven_fx1.htm Best, Michael

Coming late to this thread but I recently added gun flashes (on-screen and off) for a "Grind House" trailer competition entry. (I also did grading to create a '70's reversal stock look from the video footage.) I explain it with sample footage here: http://michael-morlan.net/pages/production...d_hellhoney.htm The production tried to use a photo flash for on-set gun flashes but only managed to capture one for the shotgun blast. Photo flash times are so fast that catching one in-camera is troublesome. I've used double strobes for electrocution effects by setting them at twice the speed I wanted them to appear on film later. I recently used a 1.5W Luxeon LED flashlight for a nighttime gatling gun flash effect. Just positioned the flashlight out of frame and rapidly bumped the back button. Enjoy, Michael

Mwa ha ha ha ha. Thanks Walter. Agreed, some perspective is always needed and RED has had its full share of rhetoric - fanboys and dissenters essentially commenting in a vacuum. RED One is just another tool in the panacopia of resources available to the film & video cinematographer. As reservation holder #414, I look forward to adding it to my arsenal of film and video acquisition - should it be all that is promised. Michael

Oh! And I forgot: o vector weight bar - an upright bar that holds some of the counter weight. Jibs naturally wish to return to the position in which they were balanced. The vector bar counters this tendency, making the jib perfectly balanced at any boom angle.

I can't speak for the Miller jib but I have been nothing but happy that I spent twice as much as an EZFX jib on my Porta-jib Traveller. Here are the features of the Port-jib Traveller that distinguish it from the rest of the 7-foot pack: shortest longest o reach 38" 55" o boom 4.5' 7' o rock solid construction o supports up to 40 pounds o telescopic design for use in constricted areas o boom and pan friction controls o 100mm bowl for camera head o center column mounts to 100mm bowl or Mitchell plate o bubble levels on center column and camera plate o sliding counterweight for balance fine-tuning o weight 29 lbs. / folds to 31" / in wheeled flight-case I and an experienced grip have set up the Porta-jib Traveller in seven minutes... with camera mounted and cabled.

Some other c-stand handling points: o When booming out, place the arm over the highest leg. o Place all sand bags on the highest leg so that the minimum sand bag is touching the ground. o When gripping a thicker load with the head, place a wedge on the opposite side of the head's bolt from the load to prevent bending of the bolt as the head is tightened. o Tennis Balls cut wtih an "X" on ends of boom arms when they are at eye level or other possbily injurious place.

Joseph, I agree completely. Having worked in the G/E crew on features and short form projects, I remember two hours of additional work after hearing "That's a wrap!" Not sure how to include that in a contract but it is definitely something I consider in pre-pro and production. Here are some of the clauses I first submitted to the producer of this project for his consideration. This is my own verbiage, cribbed from various contracts, feedback in this forum, and my own experience. Since he is an attorney, I'm sure he'll reword this: CREDIT Notes: I didn't have any parameters for this. Thanks, Jarin, for your notes about that. POSTPONEMENT / CANCELLATION A. Minor Schedule Changes If the Production should move either two days forward to two days backwards from the dates of engagement and the schedule change does not conflict with other work booked by the Artist, the Producer will not be charged for the change in schedule. B. Major Schedule Changes In recognition of the unique services of the Artist and of the Artist?s declining other work during the period of the Production, the Producer understands that cancellation, shortening, or rescheduling of three or more days of the Production requires compensation to the Artist as follows: 1. greater than 28 days before start of Principal Photography: Artist will be paid 10% of fees for lost/rescheduled days. 2. from 28 days to 14 days before start of Principal Photography: Artist shall be paid 50% of fees for lost/rescheduled days. 3. from 14 days to 7 days before start of Principal Photography: Artist shall be paid for 75% of fees for lost/rescheduled days. 4. from 7 days before start of Principal Photography through end of Principal Photography: Artist shall be paid for 100% of fees for lost/rescheduled days. All fees to be paid within ten (10) days of cancellation, shortening, or scheduling. No other damages may be assessed to the Producer. Notes: I?ve suffered through two features being cancelled a week before principal photography and the resulting lost revenues from other declined jobs. CREW, GEAR & FACILITY REQUESTS Artist shall be consulted and have mutual approval on the selection of camera, electric, and grip crews, equipment, and post-production facilities. If the Artist requests specific crewmembers, it is understood that those crew members work under the terms and conditions set by the Producer. These terms will be disclosed to the Artist at the time of each crewmember?s booking. If the requested crew fails to agree to the terms and conditions set by the Producer they may be replaced at the Producer?s discretion. In the event of a conflict the decision of Producer shall govern and control. Notes: I wouldn?t be insulted if the gaffer and key grip were making more than me. I need them to be super strong so I can hand them a directive and know it will be carried out without further monitoring by me until they are ready for my next feedback. PHOTOGRAPHY / RE-SHOOTS Artist will be consulted on all 2nd Unit photography, plates, and all other photography on the Project that may not be directly under the Artist?s supervision. Artist has the right of first refusal regarding delayed or additional photography, to be paid at his same daily rate. In the event a re-shoot becomes necessary due to an error on the part of the Artist, it is understood the Artist will re-shoot the job in a timely fashion at the same day-rate as agreed to for principal photography. Notes: The usual ?protecting my work? stuff. POST PRODUCTION Subject to Artist?s availability, Producer will consult with Artist for the purpose of all post-production color correction, grading, and creative manipulation of the image or any other process where color correction is to be implemented for a master for cable, television, video cassettes, DVDs, or laser discs." Notes: The usual ?protecting my work? stuff. TRAVEL Travel shall be provided in the same amounts and same class as the director. Per Diem shall be paid upon arrival at out-of-town locations at the rate of _________. Notes: Not sure if we?re traveling but, rather than specify some numbers here, just note that I am treated the same as the director. SHOW REEL The Artist shall have the right, at his expense, to make duplicates of original footage and the finished feature from the highest quality masters, to be used solely on the Artist?s portfolio. Artist shall be provided with one (1) DVD copy of the finished feature as soon as the feature is released and such DVD copies are commercially available. The Artist shall be granted access to print and electronic pres kits, if produced. Artist understands that he must obtain the permission of the owner of the finished work for any use of any materials. BILLING Artist shall be compensated as follows: 1. Beginning of pre-pro: 50% pre-pro fees 2. Beginning of Principal Photography: 50% pre-pro fees + 50% principal photography fees 3. Monday following week 3+: principal photography fees for preceding week PROFIT PARTICIPATION Notes: Do I have any participation in the back end of this project?

One of the unique arrangements of this particular project is that I will also be serving as an advisor/mentor to the first-time director. I'll be pretty engaged in collaborative confabs with him and will not be able to attend camera myself. My trusted camera op from other projects will be handling the frame. Having my choice of camera op, gaffer, and key grip becomes even more important under these circumstances. I wouldn't be insulted if they were making more than me. M

Some excellent info - most particularly the typical ranges of negotiating points. FWIW, my feature has a $300K budget with $100K earmarked for attracting some name talent. I am receiving $150/day for 10 days of prep (yes, I'll put in more) and $900/5-day week. I have a long-standing relationship with the producer and a fairly diverse short-form reel that inspired the production to offer that much. I didn't negotiate for my DoP fee but will be doing so on other points. For instance, I'll may also be renting my one-ton G/E package, doorway dolly system, and jib-arm, so I'll make out all right on this project. M

Hi all, I've worked as a DoP on numerous short narrative, industrial, and commercial projects, and below the line on a smattering of features. This week, I am negotiating the details of my deal for a $300K feature and seek advice and sample contract verbiage about what I should ask for, protect, etc. Some of the things I have sought in past deals (but don't always get) or have read about include: o my choice of gaffer/key grip o my choice of camera op(s) o I am consulted on all choices of my camera/lighting crews o access to raw footage for my reel and permission to publish it after a specific date o copy of the finished film on some choice of media o guaranteed payment of some part of the shoot regardless of whether it goes into production or not o consultation in grading/color correction for original print/transfer and all subsequent transfers What else? Any specific advise about any of the above? Thanks, in advance. Michael

Here's a version updated by my own experience: Shiny Board Refurbishing Tools & materials ? gilding size ? hobby stores do NOT have this ? order @ guildedplanet.com ? 3M ?Spray 77? ? home builders store ? acetone ? builders store ? aluminum leaf squares - eBay ? wire brush or flat wire wheel ? home builders store ? Scotch Brite pad ? home builders store ? 3? putty knife ? home builders store ? 3? metal scraper ? home builders store ? Bondo dent repair compound ? home builders store ? 4? Rubber roller ? hobby store ? masking tape ? surveyer?s snap line ? home builders store ? 2x #2 grip clips ? hard-side foil - Matthews or American. Or, you can use Lee Mirror silver. Paper works best. aluminum leaf side: ? Use wire brush or wheel to remove existing leaf and most of varnish. (Existing Bondo?d dents will have to be re-filled. ? Use Scotch Brite scrubber and acetone to remove rest of varnish. ? Smooth dents with Bondo ? from home builders store ? Mask edges with masking tape ? Mark masking tape and snap line every 5-1/8? over 41? (8 segments) ? Paint thin layer of varnish on whole board ? Let sit until lightly tacky ? Lay leaf with 1/8" overlap (read ?Guilding Basics? for tips & tricks) ? Secure snap line between marks on tape to serve as guide. Secure with grip clips. ? Lay first leaf with 1/8? overlapping frame edges. ? Lay subsequent leaves overlapping frame edges or other leaves by 1/8?. ? Last line of leaves will fit inside frame. Hard side: ? Peel off all foil from the paper first. ? Soak paper with acetone in sections, lift/scrap up edge and simply peel the entire section. ? Scrub remaining adhesive with acetone and Scotch Brite until clean and smooth. ? Smooth dents with Bondo ? Mask edges and yoke with masking tape ? 3M ?Spray 77? to mount new foil ? Requires two people ? Adhesive dries fast so position paper, spray in strips, and smooth down from center outward while still tacky. ? Avoid stretching paper if possible.

As handed down to me by a senior grip/electrician: Shiny Board Refurbishing Tools & materials ? Gilding size ? hobby stores do NOT have this ? order @ guildedplanet.com ? 3M ?Spray 77? ? home builders store ? Acetone ? home builders store ? Aluminum leaf squares - eBay ? wire brush ? hobby or home builders store ? Scotch Brite pad ? home builders store ? Putty knife ? home builders store ? Bondo ? home builders store ? 6? Rubber roller ? hobby store ? hard-side foil - from where? Both sides: ? Smooth dents with Bondo ? from home builders store aluminum leaf side: ? Wire brush to remove existing leaf and most of varnish. (Consider spinning wire wheel.) ? Scotch Brite scrubber and acetone ? Mask edges with tape ? Mask edges ? Paint thin layer of varnish on whole board ? Let sit until lightly tacky ? Lay leaf with 1/2" overlap Hard side: ? Peel off all foil from the paper first, ? Soak paper with acetone in sections, lift/scrap up edge and simply peel the entire section. ? Follow up with acetone and Scotch Brite scrub until clean and smooth. ? Bondo all dents ? Mask edges and yoke ? 3M ?Spray 77? to mount new foil ? Hard side reflector can be purchased at Matthews or American. Or, you can use Lee Mirror silver. Paper works best. Gilding Basics (from a web-site): Step 1: Prepare work area: Cover working surfaces and floor areas with drop cloths or newspaper. Use low-tack painters tape to mask any areas not to be gilded. Lightly sand the surface if necessary with 220 grit sandpaper to remove any blemishes. Step 2: Prime surface: Remove sanding dust with a tack cloth and apply a quality primer like Rolco Burnish Sealer. This primer-sealer has been specially formulated for gilding processes and is available in 3 color tones - Red, Grey and Ochre. Rolco Burnish Sealer produces a high quality, smooth surface for gilding. Ochre, red or grey can produce fault hiding bases or color enhancing undertones. Step 3: Apply adhesive 'size'. Size refers to the adhesive used to adhere the leaf to a surface. There are different kinds of size adhesive dependant on the finished look you desire. For most common gilding practices there is a choice of sizing available, water-based or oil-based. Apply carefully and evenly, working the size to an even film as much as possible. Step 4: Testing your 'tack' - This is perhaps the most important phase in achieving a properly gilt surface, and determining the proper 'tack' time of adhesive sizing will result in the professional finish you are after. As your 'size' dries it naturally goes from a wet to a dry state. The proper time to apply your leaf is when the 'size' is not wet but 'tacky', just before it dries completely. Step 5: Applying Aluminum Leaf Surface leaf: Placing a book of leaf in your hand, carefully fold back the protective paper to expose the Aluminum Leaf. Lay the leaf onto the sized area and 'roll' out the leaf. Hold firmly and carefully. Attach leaf to surface. Patent Leaf: Carefully remove a single sheet of Aluminum Leaf transfer paper and gently apply to your surface. Rub over the back of the paper with a gilder's brush, or gently with your fingers. Carefully remove the paper to leave the leaf adhered to the surface. Continue in this manner. Step 6: 'Burnishing' the leaf -After the leaf is laid on, rub gentle and thoroughly with a soft squirrel or goat mop gilder's brush to insure complete adhesion.

Hi all, I'm refurbing the two, used shiny boards I recently purchased. I've successfully stripped, used Bondo on the dents, and covered the "hard" side. In working out how I'm going to cleanly apply aluminum leaf on the "soft" side, I realize that it might be time to discard that classical method in favor of a simple Lee Soft Silver Reflector (#273.) That will certainly be easier to apply, longer wearing, easier to remove, and of very similar effect on the set. That choice would be fine if I was doing it just for myself, but I also have to consider rental and production clients. Soft Silver Reflector, affixed to a foamcore and beadboard sandwich, has become quite common on the set but what about using it on my shiny boards as well? Any opinions from the seasoned pros? What do the DoP's think? Thanks, Michael

Thanks for the suggestions gents. Satsuki: Yes, the shot fades from color to B&W. We'll be doing a digital post so everything gets scanned to HD files and we perform that effect there. Some sample frames emailed to me would be most welcome.

Hello all, A short film director for whom I am being considered as D.P. has written a nice 10-pager that starts in color, desaturates to black & white over one shot, and finishes in color again (with one shot B&W with a color blood splat.) We're shooting S-16. I could, obviously, shoot the entire thing with a Kodak 7217 or 7218 depending on my desires for grain and size of instruments. Has anyone tried to match '17 with '22 in a similar situation? Have they suceeded with another pair of stocks? I wouldn't mind some slight variance in detail, grain, curves but want to get them as close as possible to avoid them being noticed. I might shoot the color for best detail, desaturate in a digital HD post, and use the '22 for all the pure B&W shots. Then back to the '17 for the finish. There's no budget for film tests so I'm seeking insight from those who may have preceeded me. Thanks, Michael

I address the use of manufacturer's spec tables in helping choose lights in my article "Choosing the Right Light" As an example, a classic Mole Baby 407 spec sheet may be found here. Hope that helps. Michael

AXP: Um, halogens (incandescents) don't require a special dimmer. You may be thinking of flouros, which do. Drew: First, you're messing with dangerous stuff here. Second, I highly advise against anyone offering you feedback on electrical issues. This is the domain of certified electricians. If you want to DIY, either seek the help of an electrician, or buy one of the excellent home wiring books at your Home Depot. The Black & Decker publication is particularly good and chock full of photographs and illustrations. Hope to hear back from you when you're done. ;)

One note from Kino Flo. They recommend not clipping gels near the tubes or grid since the lights still need some airflow. You can melt the grid under certain conditions.

I own several modern stands including c-stands, baby's, and hi-hi rollers. I lick the Modern stands - well built and rugged stainless steel, chrome steel, and cast components. I prefer the latest Matthews grip heads/arms for their assured locking power. I can position a load and it will stay right where I set it rather than sinking a little as the grip head continues to tighten. I found the Modern heads to be a bit soft. I don't care for the Modern slip-on feet. They fit outside the tube rather than being glued within. Easy enough to address. Clean the oil on the feet as delivered and use some Liquid Nails to secure them. Same goes for internal feet caps. So, Modern (or Matthews) c-stand with Matthews head and arm.