Jump to content

Tyler Purcell

Sustaining Member
  • Content Count

  • Joined

  • Last visited

  • Days Won


Tyler Purcell last won the day on November 7

Tyler Purcell had the most liked content!

Community Reputation

483 Excellent

About Tyler Purcell

  • Rank

  • Birthday 07/28/1978

Profile Information

  • Occupation
  • Location
    Los Angeles
  • My Gear
    Arricam ST, 3 perf, Aaton XTR Prod +, Aaton 35III 3 perf, Bolex EBM, K3, Blackmagic Pocket Camera
  • Specialties
    Cinematography (digital cinema and 16/35mm) and post production (DaVinci/Avid/Final Cut Pro)

Contact Methods

  • Website URL
  • Skype

Recent Profile Visitors

54287 profile views
  1. If you're shooting a show FOR Netflix, IE they're paying for it, then yes the camera resolution needs to be 4k or higher. They will actually check your source files. If you're shooting a show that may get picked up by Netflix, it doesn't matter. As long as your master is 2k or above, they're fine. Personally, I would shoot 1.33x anamorphics on the LF. Thus, you can use the full 16x9 imager and get the best of both worlds. The anamorphic lens flairs and great large format look. You also retain your full imagers width, thus being 4k compliant. The only downside is your choice of lenses, Panavision and Hawk are the only companies I know of making the proper lenses. Panavision would be the "right" 1.5x anamorphic for VistaVision cameras like the LF. The Hawks are 1.33x, so only a slight crop top and bottom to get 2.40:1.
  2. The Arri SR and Aaton cameras can all take 100ft daylight spools for film supply. On the SR's they have a removable core hub by the push of a button in the center. On the Aaton's, the core hub requires a screw driver from the side to remove. The problem is, it comes off the daylight spool and onto a core, so you still need cores and a can to put the film into with a black bag for protection. Sadly film on a core won't quite fit into a 100ft daylight box, it gets close, but alas it won't. So that issue of dealing with daylight spools after you shoot, can be a deal breaker for 100ft spools on non-100ft spool cameras. No you can't project negative, it's a reversed image anyway. You need to either shoot in a positive format (ektachrome or B&W reversal) or make a print of your 16mm negative for projection. I suggest the latter because working with your original camera media on a flatbed can lead to damage.
  3. Sadly Robin, I'm not your gopher. I can't take a day off and go around Hollywood, asking a dozen rental houses the same questions I've already asked. Plus, even if I did all the leg work, you wouldn't believe it. None of your issues with me would be settled, you'd just move to the next one because your laundry list is a mile long. Robin, this is a place to discuss things. You guys have spent the last 2 days discussing me, all the things you hate about me, direct horrible comments that anyone who knew me, would throw back in your face. However, my friends stay off forums because they would act the same way I do. I like internet forums because I like absorbing ideas from other people and discussing concepts and being a vocal member of the community. If this place was just a bunch of ass kissing, back patters, nobody would be here. So if you get bent out of shape because someone whose been in the industry for over 20 years has an educated opinion about XYZ, then maybe internet forums aren't for you.
  4. That's what I'm doing. As everyone else is being a hypocrite, I've been busy working. Just had a few moments to "catch up" prepping for my final shoot weekend on my first feature narrative in years. I'll post something about it soon, but we're just waiting until principal is over before posting actual stills from the shoot that aren't BTS.
  5. Batman V Superman https://www.rottentomatoes.com/m/batman_v_superman_dawn_of_justice Love it or hate it, Warner Bros. promised that over thirty minutes of footage would be added to the extended cut of Batman v Superman: Dawn of Justice, and they made good on their promise. Fleshing out subplots and adding some much needed character beats, the additional scenes made the blockbuster meeting of DC’s juggernauts flow better throughout its three-hour runtime. https://collider.com/batman-vs-superman-ultimate-edition-differences/ “Everyone has their opinion. Does everyone have to love the movie? Of course not… visually I feel like me and my crew killed it, so when you hear things about it, it kind of hurts. To be honest the weirdest thing… I’ve never really talked about this. But the weirdest thing, and this has happened a lot, I’ll have a stranger come up and say, ‘Batman v Superman really sucked… but don’t worry, what you did was great. It looked really good. It wasn’t your fault.’ “And I listened to that for a while and was like, ‘Okay, well thanks.’ But then the more I thought about it I thought I’m not going to accept that. Because everyone’s working towards a common goal, right? And Zack’s my brother, I’m not gonna go ‘YEAH!’ you know, ‘HE did a horrible job… but I didn’t! I just did MY job! That’s right!’ I don’t accept that. If you make a baby together you’re proud of that baby. You can’t divide that up.” https://www.flickeringmyth.com/2018/06/batman-v-superman-cinematographer-says-severe-criticism-of-the-film-hurts/
  6. Not sure why they haven't done it. They work just like the older taps, with external electronics.
  7. It's not the cinematographers project, it's the directors project. Imagine this... you're the director. You hire a cinematographer for your job, assuming you'd be using X equipment because you're familiar with it and you like what it does. The CInematographer comes in and guilt trips you into changing your mind because they don't like X equipment, they like Y equipment.
  8. Right, I couldn't find where he talked about his love for film. So I couldn't make a direct quote for you.
  9. I'm sorry you think I'm pushing film onto people. My job as a cinematographer is to take the directors concepts and turn them into reality. Since most movies have been shot on film, it's just natural for them to have film references. So why wouldn't I shoot film? My taste in format, should have nothing to do with it. If someone has the money to make something on film based on the look they like, then we'll do it. I'm not going to talk them out of it because I prefer digital. Let me tell you what bothers me. I'm tired of hearing stories about directors who always work on film, being manipulated by cinematographers into shooting digital. Lots of "we can't do that", which is complete utter bullshit in my opinion. Now that all cinematographers are up to speed on digital of various kinds, all of them want to continue shooting it and what's going to happen is that more and more will stop shooting film. This will have a negative impact on our choices as artists. We need big shows like Joker to be shot on film because it's those shows that keep Kodak in business. I look at the big picture and I want our choices as cinematographers to expand, not decrease. If people like me don't exist, it would have been long gone years ago. So I'm sorry if you think I'm being rude and irritating, you have the right to ignore my posts.
  10. First off, I didn't quote anyone. There were no quotation marks, there was no link, there was nothing to identify it as being a statement and interpretation made by anyone but myself. Second, I have been reading and studying him since I was a kid. When most kids were out playing sports, I was reading American Cinematographer and watching the classic films, studying technique. I have a good understanding of what he likes based on those readings. My readings were mostly prior to his full time switch to digital of that helps understanding where it could have come from. Third, I have no reason to lie, none at all.
  11. I was unable to find the quote I was after and I'm sorry if I can't immediately drop what I'm doing and spend hours watching every video with him so I can track down where I saw it. I think it was the interview that was done in his backyard, but I couldn't find it when I went searching this morning. I've watched probably 10 hours of Roger Deakins talking. If you can paypal me a decent day rate, I will take the day off and find the quote for you. LOL 😛
  12. Sorry, I should have read with more detail and yes in this analogy, I agree. Well yes, film technology stopped development around 10 years ago. Just imagine of all the money that Sony dumped into sophisticated noise reduction, was dumped into developing a more sensitive film stock? So yea, it's kind of impossible to compare a 2500 ISO camera to a 500 ISO camera. It's impossible to make that comparison. A decent looking image at 2500 ISO is only possible due to that noise reduction. So imagine if we stuck to an ISO that is more reasonable, let's say 1500 which is 500T pushed 2 stops. Then we shot Digital and Film together, applied advanced noise reduction to the film, the same NR they use IN the cameras, you'd have a much more comparable image. No it wouldn't be the same on the Venice, but on any single stage ISO imager camera, like an Alexa, it would be damn close.
  • Create New...