David Rakoczy

A person, who knows how to use a meter, can shoot Film, transfer in Apple ProResHQ, bring into Final Cut, Edit, Export and air on National TV... and they do not have to understand a fraction of all that you so diligently explained. If I had to be consumed with all the technical details of a RED I'd quit the business. Give me some good Glass and a couple Mags that don't scratch and I am good to go! Film :wub:

Geez John! :o I'll keep my Film Camera with it's On/Off and Film Speed switches! I have no fear factor with Film but what you just described... is horrifying!

..find some Set Lamps... in the end that is what you'll want. You can find them cheap... look hard!

Ironically, if you shoot it will probably rain (but you will most likely be able to work around it)... if you wait, you will see one sunny day after another. :rolleyes: Go figure!

Theatre fresnels (like De Sisti) can not handle the rigors and abuse experienced on real Shows! They are made to just 'hang' out with occasional pans and tilts. Mole on the other hand builds them for abuse.

Great point Keith! I have (as DP) shot FILM for over 20+ years and have only encountered one serious problem (which wasn't serious in the end) and it had to do with the Lab not doing a proper Rinse (or something was in the tank) and it looked like it was raining in the image... a second rinse and it was gone. Occasionally a random hair will appear but frankly it is easily and cheaply solved (if I absolutely have to use that particular take) on a Flame . The benefits of a Film Quality Image far outweigh the 'fear factor'. There is nothing that compares to flying by your meters! :wub:

I too pray for his family and friends and hope to meet him at the Resurrection. 1Thess 4:13-18.

I was Gaffing a Show years ago and I overheard the producers quibbling over $ and I knew we had two more days of shooting to go. I told them if they wanted me and my crew to go out into the desert the next couple days with them, we needed checks today... by lunch. We had a great lunch and deposited the checks that evening. The rest of the crew got screwed and they really resented the fact that (we) were paid in full.... the Dp and camera crew (and everyone else) could not believe the Elecs and Grips were already paid!..... you gotta look out for yourself in this business.

I agree....or using it so much it pays for itself ;)

Lenses are useless without a Body and Support. Buy a Camera Package..... or rent.

I am with you Richard and run my business the same way.... at a minimum, I require a check at wrap. Once you hand over your work and get into your car you have zero leverage. The OP nailed it and took responsibility. That is commendable. Chalk it up to experience and be thankful it is not $3,000! This is very common in this business. Many are 'artists' or even 'idealists' and they reject the corporate world to pursue a career in the arts. The problem is, they need to realize that (they themselves) are now the corporation and the sooner they learn to act like real businessmen the better!

Happy B-day Sir Boddington! :)

:lol: .... keep the drive alive Stephen!

Hear Hear!

I wouldn't know... I am a FILM ONLY guy! :P *I now see your pun... very funny Stephen! :lol:

Case in point :rolleyes: For all practical purposes, Film sure as heck (can and does) reach a point where it does not have sufficient light to garner (anything)... unless you want to wade into the theoretical (and certainly not practical) world of pushing 5, 10, 50 or more stops... where do you stop? That is why I said I believe people are talking about differring points of the curve.

I did? When? Where?... I believe you are thinking of someone else.... I do have a common last name so this often happens :lol:

This is factually incorrect... Pushing can (not) bring out information where no information exists... it can not just 'make it up'. This topic may be exhausted for you, however, the more you write the more there is to discuss ;)

....as long as you are not kicked off any of the DV User forums Stephen... that's what counts! ;)

... not if you have no info in the blacks because you did not have sufficient speed to register anything to begin with. I believe people are talking about different parts of the curve in this discussion. Don't make me regret agreeing with you. ^_^

Besides the decrease in grain perception (esp. in S16), this is another good reason to rate stocks 2/3s slower... Most underexposures are between 2/3 and 1 stop under so, if you forget to compensate for an 85 for example, you are still in 'normal' range. I have to agree with Mr. Pritchard and anyone who has ever pushed has heard the lab express to them that they will not yield a full 1 stop on a 1 stop push. I also think there is a bit of semantics going on in that pushing does not increase speed (on the low end) because as David M. stated.. it occurs after the fact and we can not bring to life something that is not there in the first place. At the same time, pushing can bring to life things that are under between the mid and lows. On the Fotokem Test I saw no increase in Contrast or Grain in a 1 stop push (which is really 2/3s) in either 35mm or S16mm.

J, Per the rules of this forum, please go to My Controls and change your screen name to your first and last name. The Members thank you in advance.

Per the rules of this forum, please don't double post. It only wastes peoples time and scatters the conversation.

Per the rules of this forum, please don't double post. It only wastes peoples time and scatters the conversation.

How shameful! :rolleyes: