Seung Han

Thanks for your input guys. When I directed behind the video assist, I felt like I was communicating from a safe but distant location. Whenever I had a big scene with the actors, I got my ass up and directed from next to the camera. I always felt like I was disconnected from the set and crew after being behind the video so long and was finding my place again on the shoot again. I'm hoping to find a balance between the video assist and the camera the next production.

How do cinematographers feel about the Director actively sharing the viewfinder? I ask because I directed my first feature and spent a lot of production time in front of the monitor and almost never looked through the viewfinder. But I always see pictures of directors looking through the viewfinder, and I feel like I missed out on something. As a first time director, I didn't want to encroach on the DP's territory since he had a lot more experience than me. What do you guys think about sharing the viewfinder? What is a good working relationship between the DP and director in dealing with the camera?

You guys are great. Thanks for breaking it down for me, so I can understand. I met with the DP and he seemed like a nice guy, but our conversation didn't get as technical as I was worried it might. I'm hoping to get into it further with him in the future. Thanks again guys!

Thanks for the link Matt. Much appreciated...

I guess my question was more specific to how those shots in "The Assassination of Jesse James..." was done. I was a little confused by your reply... :unsure:

Hey Guys, I was interested in the "tunnerl effect" in The Assassination of Jesse James, so I did a search on the board and found this post by Jamie Mcintyre: The 'tunnel' effect as you call it was created in camera in two different ways. I had in the past shot through a wide angle front lens element using a 50mm macro lens to get a 'keyhole' type of effect and we did a similar thing for 'Jesse James'. Secondly we simple removed the front element of an old wide angle lens which gave us the colour fringing and the vignetting you see in the film. Both quite simple ideas really. I was hoping to explain this to a Korean DP but since I am not a DP I am not exactly clear on what Jamie is explaining in the two ways he achieved this effect. Also, my Korean is not that great, so I feel like I have to be extra clear to get my points across. On the first method, is he attaching a wide angle lens in front of a 50mm macro lens? Is there an adaptor for this? On the second method, what is the front element of a wide angle lens? Is it one of the glass and also does it have to be a specific type of 'old wide angle lens' or can any wide angle lens achieve this effect? If anybody can clear this up for me I'd appreciate it. Thanks! - Seung

Thanks guys. I appreciate all the great tips. I hope I find a balance between the two when the time comes.

Should a director be directing from a monitor? What are the advantages and disadvantages of watching a shot from a monitor? Are some shots more appropriate to view from a monitor? Also, what is the relationship between Director and DP to the monitor?

I know... :lol:

I assume the hardware is no longer beta since they are ramping up productions to ship, up to 400 in January. I just did a quick search and the latest firmware, however, is still beta. "The beta version of Build 12 (v1.8.6) Firmware and release version of Build 11 (v1.7.0) Firmware have been posted on RED.com/support (password-protected download)."

Wow. The first cameras out of beta shipped this week. These are some big declarations.

I can probably arrange this for you...but it would be Spring...and you'd have to come out to Seoul. ;)

Is it laziness and relying on test results posted on the internet? :lol:

Did somebody get charged for this information? Whatever happened to being grateful for somebody's troubles to share something, with strangers no less! Nobody is declaring any of these tests as being definitive. They're just sharing their observations with others who don't have access to the equipment. I don't think anybody has a right to tell them what tests to do unless you are paying for the rental or piece of equipment. Just be grateful people with varying levels of skill are sharing anything.

Oh, I see the misunderstanding. The results were posted for a day or two then removed. He had a complete breakdown of what he thought were the pros and cons of using the RED and the F23. This isn't second hand information. It was right on his website. As far as the other DP, it is somebody I am having regular meetings with. He went to California recently and went through some RED footage at a large effects house. He said similar things about the DR as Claudio. So, unrelated, but also not a case of he said/she said. If you look at my post history on any site I have been a supporter of RED, so it is disappointing to get feedback like this. Still, if it's only getting better, and for that price...