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Tyler Purcell

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Everything posted by Tyler Purcell

  1. Yea I don't understand why they feel 16mm isn't enough quality for them.
  2. Na, film cutting and perforating have nothing to do with the stock itself. They just pushed Ektachrome through the same standard cutting and perforating process they use for all 35mm negative. The lab simply used one of their negative processes to cross process, super straight forward.
  3. On average, I try to go for a 7:1 - 10:1 ratio unless it's very slim on dialog. You want enough film to make mistakes and re-shoot things, but also have enough coverage so it looks professional. For the sake of easy math, I usually just say each roll is 10 minutes and if your script is 15 pages (1 minute per page on average) you're looking at 15 rolls to cover the 150 minutes.
  4. I have a R5, we got it for stills mostly, but we're also using it for our new YouTube show. I'm very impressed with the camera, it's a very good imager. The codec is so/so, but 480Mbps is not bad for 4k .h264 10 bit 4:2:2. It downsamples the full 8k imager to achieve a 4k image as well, which is super nice. I will say for the record, the R5C really only adds one major feature and that's the fan to keep it cool. My R5's fan runs constantly and its dead quiet. It's basically the same camera as the R5 and it's MORE expensive! Man I just threw down $6k to get lenses, body, rig, accessories, extended warranty and ALL of it was used, heavy discount. I can't imagine buying new, insanity! By the time you're done, you'll have spent the cost of a much higher end camera. That's my biggest beef. Everyone sees 8k and screams, but reality is there are so many cameras coming out at NAB this year, it's going to flood the market with similar resolution cameras. Canon is first to the 8k "mini" cinema camera party, but I think like always, they will be trounced by Blackmagic come April. They're working on two new cameras, most likely miniaturizing the 12k UMP and making a true pocket cinema camera again, using the same tech as the 4k. So we should see some new products from them, Sony, Panasonic and even Canon at NAB, which may change your opinion on the R5c. My biggest beef with the R5C is the same beef with the R5, to record 8k, you need a CF card, which are grossly expensive. They have no real audio built in, so you're having to run boxes and adaptors. The internal codec, where FAR better than any other canon at this resolution, is still so/so. Recording externally defeats the purpose of a small camera. Battery life is so/so, better than the pockets, but not by much. The Canon menus are better than they have been in the past, but they're still tricky to get around. Cameras like the 6k Pro have built in ND filters, 2 tracks of XLR phantom powered audio, 3hr battery (battery grip) and of course full imager Pro Res capture with raw, plus USB C drive compatibility for capture, no need for CF cards. I have to admit, getting back into digital cinematography right now, is kinda interesting because frankly there are more options than there ever have been. Color science wise, the Canon cinema cameras look WAY better. No contest, totally different planet. Matching the R5 to a Canon cinema camera would require a great deal of work and compromise on the cinema camera shots that I'd kinda say it's not worth it. Where I do think Canon cameras in general have good color science, again the pocket wins in this department. Just using the Pocket 6k Pro, you immediately notice it looks more cinematic in the viewfinder. When you start to grade the files, the workflow is identical to the Alexa for instance. Same ol' Pro Res files and such, it's just like working Arri LOG. That will teach you how to be a better grader. You won't get any of that with the R5C, it's going to deliver you files that look like a 4k video camera with a nice lens attached. Totally fine for documentary work which is what we're using it for and of course stills. However, I've noticed the color science in general to be a bit too refined? Like they've taken all the heart and soul out of image and focused on making it perfect looking. Similar to what Sony does with their still cameras that shoot video. Where I don't "hate it", I would never shoot a narrative with one. I'm personally waiting for whatever BMD releases in April and if they do nothing, I'll nab a Pocket Pro 6k and just live with the issues unit the next best thing comes out. I hate the form factor of the 6k pro, it's disgusting, but if that's my only major beef, that's pretty good. Stills wise, the thing is insane, literally the best still camera I've ever shot with. It's so good, Canon isn't even releasing another 8k camera like it, all their new cameras are less than 8k, which tells ya something. I've punched in 40x on images in photoshop and just seen grain, no aliasing, no pixels, just beautiful grain. They've struck something with this camera on the stills mode. With the video mode, again it's ok. Auto focus is pretty cool, but not as flawless as the reviewers make it out to be. It's if anything annoying for video because when it gets it wrong, you can't just fix it easily, it's always hunting to find the next focus marker. With stills it's better, but with video I'd say it's 70% accurate and with stills it's 90% accurate. So that's what makes the still side of the camera so damn good. So the R5C is again, pretty much the same camera just with a fan and a few little additions to make it more "video" tailored, but at a cost of being $1k more money AND bigger/heavier, which the R5 is already kinda big and heavy. So umm... IDK, is it worth it for video only? I'd say no.
  5. OOOOOOOOO hahah, so they didn't even get a positive out of it.
  6. Well, like you'll need to pay for a crew, cast, maybe G&E and locations to make a production. So putting money into the actual production (which I call making "content") is where the bulk of money would be going. Equipment is great and all, but you'll reach a level soon, where you'll have no choice but to pay for those things.
  7. That's great, good start honestly, two good cameras ya got there. Just don't forget about audio. Separate recorder (preferably) and wireless lavs will do the trick to start with. Good picture must have good audio. So yea, I'd just do what I said, keep working, keep shooting and as you develop your skills, you'll find people to work with, it's not that difficult, even in rural areas outside of the industry. I never had issues finding people living in a rural community. One thing I'd say tho, is to spend more money making content, than on equipment. Outside of that, do you think after you PhD, you'd give up the sciences and want to be a filmmaker? Gosh, I don't know if had a PhD, that I'd never get into the film industry. Part of the reason I am in it full-time is because frankly, it's the only way I can make decent money and enjoy my life. Very few professions allow such a diverse lifestyle.
  8. Yep, but sadly those jobs are difficult to find outside of media cities.
  9. Crazy right? I feel the same way. Only reason I don't own a pocket is that I hate the form factor. Hopefully BMD will solve that this year.
  10. Correct and the OP lives in Coventry which is 100 miles away from any "entertainment" industry in the UK. So it's not like he'll be going into the city to borrow cameras so he can start learning. The key is to get a camera, learn and then use that camera on shows until you can work on big enough shows where you don't need to be a camera/kit guy, which may never happen honestly. I can count on my hand how many shows I've worked on where everything was rented. The bulk/majority of the work I've done in Hollywood, the DP brings their kit as well. Maybe not as the "A" camera, but they will use their kit for something. Everyone I know has Alexa Mini's or Red Helium's, they don't sit around. I make $1200 - $1800/day because I have a kit. If I didn't have a kit, I wouldn't get the jobs at all. Same goes for post production. I've done one feature with "rented" equipment and that was because the studio didn't allow us to work from our homes. Now, everyone works at home and if you don't have a system to cut with, you are not an editor anymore. The only time you can get away with not owning anything is if you're a high end person, working on big studio shows. I don't think giving feedback for those people is relevant in this discussion. Sadly, most productions are trying to save money. I've worked on multi-million dollar features and they'll skimp on how many cards they have for the cameras, let alone the camera type. Just to save $10k or so. It's crazy! Either you work or you don't work and complain. That's the "Hollywood" way sadly.
  11. Welcome to the forum! Sadly, there isn't one specific road that works the best. Everyone has their own skillset, their own connections, living in different parts of the world and so each road is very different. There are some real basic tips and tricks that can be given, but just remember it really comes down to many more things than these. Also, I don't think film school does anything anymore, besides make connections that you may or may not use in the future. I for one, have never used my film school connections because I never really made any. The UK is also a very different place than the US. Most of my UK friends struggle to find good work there and resort to traveling more than we do state side. There is also a BIG difference between someone working in Hollywood, where work is literally growing on trees vs someone living in the countryside where bulk of work is 100 miles away. With that said, the tricks I've learned over the years are as follows; - Make your own films in order to fine tune your craft. Tell stories that maybe other people in the world don't know about. Make them short, interesting and to the point. They don't need to be scripted, it could be documentary, but the more stories you tell, the more your name will get out there, the more resume building you will be doing. This could include music videos, commercials, industrial films as well, anything that you can produce that will hone your skills and look like a finished product. - Connect with locals who also want to be in the industry. There are PLENTY, but finding them can be tough. I know there are some UK based groups on Facebook, maybe hit one of them up and start to make a presence on there. There are also local events for sure, you need to find them and attend as many as you can. Your connections are your livelihood in this industry, they are your bread and butter. The only way to survive is to make them, so when you're not working, when you're not shooting, you need to be networking. - The film industry is like any other industry, only it's a bit more "catch 22" where if you haven't done something before, you generally won't get chosen to do it. So you almost need to have a wide range of skills that you can demonstrate through demo reel's and/or finished product. Where I don't like building a demo reel full of fake stuff, it can help build you up, it is a trick I see used a lot. Once you have that reel and some decent material for people to watch, it's a lot easier to bid on jobs and potentially get them. One thing I will say, it's A LOT easier to get work as a DP if you have a very good camera. If you're just renting gear like everyone else, it's harder to separate you from the pack. This is why so many people focus on gear and less on the craft, in today's age it really sadly is a gear world. Finally, education is everywhere these days. Youtube channels, applications that help demonstrate lighting setups in real time, dozens of great books and even groups like this to ask questions. Resources that up until the last decade or so, were a lot harder to access. Today I think everyone has everything they need at their fingertips. It's no longer a world where questions are hard to answer, today everyone can find 80% of what you need and that's all ya need to start. That last 20% can take decades to learn, but if you start by focusing on the basics; good camera, learn your craft, build connections, construct a decent demo and then start bidding on jobs, I think the road is pretty straight forward from there on out. By then, you'll not only know 80%, but also maybe another 5 - 10% on top.
  12. As David said, it's the law of averages. The more people on set, the greater the chance you'll run into someone who is just an asshole. I also find, it really depends on how tight you are with your crew. I get thrown onto other peoples crews all the time and I feel like a 5th wheel always. Even as a DP being thrown onto a commercial, a lot of the same crew have worked together before and you're just learning the ropes like it's your first day shooting ever. It can be super stressful and if it's a commercial, you may never get to know anyone. It's only on the bigger shows like TV or features, where you'll get to know people and things can get smoother over time. On smaller day play shows, the politics run wild and they can really suck. I've seen directors have full on meltdowns, I've seen people walk off sets and never return, I've seen open arguments between "creatives" in public. It's sad when those things happen, but drama on set is just one of those things on day play shoots. I'd much rather work on a cushy studio based TV series or feature film, especially as a DP. Anyway, 20 person crew is small potato's. Think about it for a second. Just the camera department should have a minimal of 4 people; 1) DP 2)AC/puller 3)2nd AC 4)Loader/Clapper. Then you've got Director, Producer, unit production manager, location manager, script supervisor, two people in audio, gaffer, two grips, two electricians, art department lead, two art assistants, makeup, wardrobe, hair, DIT, crafty and at least two PA's. That's 26 people and in my opinion the "minimal" crew for any professional production really and that's only one camera. Most shoots today have two cameras, so the camera crew is doubled making 29 people. On average, every feature I've worked on, has had well over 30 crew members and that feels so damn small. On the bigger shows, we'll have well over 50 crew members, especially if there are any sets, crane arms, Steadicam and car shots. You may bring in a dozen day players on top of your 30 person crew just to deal with things that happen specifically on that day's shooting schedule. What separates the bigger "union" shows vs the lower budget shows in my opinion, is the professionalism. People just know what they're doing on a pro set. They don't spend much time talking, they spend time doing things and that's part of the reason why it can be hard to learn. If you don't know the lingo, you'll be lost. Heck, I've worked on dozens of multi-million dollar shows, I still only know a very small percentage of the lingo, I just never use it in my daily life, so I have to always refresh my memory before those shows. When I'm a DP, I just let my gaffer figure out the nuances and let him use the lingo with his crew. For me, I'm just around to work with the director at making pretty images. I just turn off everything else and focus on that, no matter how big or small the crew is.
  13. Where I wish it was still the 70's, it's not anymore. Times have changed an in 2022, it's considered a toy. Why is nobody using on professional productions? It moves film perfectly fine, that's the point of a film camera anyway right? I don't want to get into a 20 page argument about it. Thanks, but again if you can't tell the difference between a SR/XTR and an Eclair ACL, I don't know how I can help.
  14. That's nothin' This is actually normal for the summer months
  15. I mean the ACL is a very old school design, it has nothing to do with release date, it has to do with the over-all design of the camera. If you need a list, then you don't know what professional cameras are like to use. For the record, I'm the only guy on the west coast who services Eclair's and I fix them all the time. I'm constantly working on ACL's, it's the #1 Eclair I work on. They are a well made camera, very robust and for sure as a beginner camera ($500 - $1000) they are pretty unbeatable, but they aren't $1000 anymore. They are grossly expensive for what they are, which is a complete toy in the modern world. I don't want to argue. I've shot thousands of feet through them, I rather like them personally, but I would never in a million years consider them anything close to a professional camera and neither would anyone else. HD tap doesn't make a camera professional. Neither does the motor they can run.
  16. Super 16 mags are all the same, you're thinking non-super 16 mags. I haven't seen many over the years, nearly everything has been converted these days. Be careful of early XTR packages, I service them constantly and we've been finding lots of systemic issues that aren't easy to fix. Same goes for SR1/SR2's, it's going to be difficult to service them in the near future. SR2 over LTR for sure.
  17. Yea sorry, the first camera was Prod, the "plus" is the standard XTR and they are going for well over $10k with a SD tap, not HD tap. Regular XTR's are very hard to find and honestly, they don't offer anything over an LTR, which is way cheaper. You won't get an HD tap on one, without some mod's which can be tricky to find. There is no comparison between an SR2 and ACLII, the ACL is a very old camera, it's not something you can use professionally. An SR II well setup, can be used to shoot professional productions. I have shot hand held with the SR's quite a bit, they work fine.
  18. Currently XTR's are going for $16- 18k with an HD tap. Plus's are around $8 - $12k with a OEM SD tap SR3's are around $12 - $16k SR2's however, standard 16mm? You can get them for way less and they are a very nice camera. They "should" fit in your price range $6k-$8k, but parts have been harder and harder to get, especially replacement motors. You won't get an HD tap for that money, but Visual Products has a great HD tap for the SR1, SR2.
  19. I mean none of my tests are still formats, all motion picture compared to similar formats on digital video.
  20. I mean I've personally done optical resolution tests with 16mm, and have determined that it can retain around 2k worth of information. If you scale that up to 5 perf or even 15 perf, you're looking at resolutions that the lenses and scanners can't even achieve honestly. The "celluloid" itself is not the issue. The reason why the Alexa 65 looked great is because they were using specialized lenses designed for that format, which are brand new and super crisp.
  21. Best place to check is "home movie lab" on Facebook.
  22. Not a problem at all, the Ultrastudio 4k does dual link. They don't make one that's HD only that does dual link.
  23. Resolve works great on all systems. I'd say however, that the hardware integration they have with Mac's is better for sure. To make Pro Res from Resolve PC, simply buy Voukoder plugin for resolve. It will do ALL flavors of Pro Res in the normal export page. It's limited on export speed, but it will create very Mac friendly pro res files, which is nice for delivery. Resolve is by far the best tool because it has everything in one. I highly suggest having a very fast computer AND the full license. If you're looking for an inexpensive editor that will run on a potato, Resolve is not it. You will need a high speed NVME based boot drive AND cache drive for it to work properly. Without those things, it can get super buggy and laggy/slow. You'll also need a fast GPU, 1080ti would be the lowest I'd go and it's recommended that you use a 2080ti or better on the "low" end of things. CPU wise, doesn't matter too much, but 10th gen intel i9 8 core or Ryzen 9 8 core or better, is suggested. I've used Resolve on the lowest possible hardware before and it's just been a dog. It's better on Mac OS due to the Metal integration, so the GUI no matter what is smoother, but you can still feel the lagginess without the fast cache and fast GPU.
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