Christopher Santucci

ReadyRig :)

https://www.bhphotovideo.com/c/product/1258215-REG/dracast_drsp_500bn_led500_silver_bi_color_panel.html

The recent versions of PP have an auto sync feature that matches up waveforms of audio files and audio that accompanies the video clips. I haven't used it, but I know it's there. I generally just sync manually by eye and ear. If your footage is MOS and you have no reference for sync, you'll obviously have to sync by eye based on some specific action/sound in the footage. If that's the case, you can look at the waveform to find a nice high peak, put a marker there and then look for the accompanying visual and put a marker there so you can synch them easily.

I assume you figured out an approach but that image definitely looks like a manipulated photograph. That color is a pretty saturated blue with some green in it and if it were me and I wanted a very specific background color like that, I might just use greenscreen for unlimited options in post. If all you wanted was a rich deep blue, yeah, shooting at 3200 everywhere else with the background having daylight on it would give you that, but then so could just using blue gel on your background lights, or using blue paint.

In my experience using one of these with a Red Epic and a prime lens, you have to keep your hands on it to get a smooth shot. It helps to mount the camera as low as possible on the thing to keep the CG low. Also, I generally use a piece of laminated shelving for it to ride on.

Use existing ceiling fixtures and bounce board for high front fill? I've shot a fair amount of office stuff with that approach. If you're wanting a more contrasty, edgy look, just shut off the fixtures in front of the actors so they are top and back lit, and then use your own highish key for them.

Depends on script. I produced a feature once on less than half that amount with a decent size cast and crew, filming with 2 cameras. Coincidentally, I paid crew and cast $50/day. Assuming no car chases, practical effects, gun play, animals, kids, gore, or action scenes, I'd say the main costs are going to be personnel and locations. I'd suggest spending as much as possible on locations, cast, and working meals.

That lens should not produce soft images like this. Something is wrong with the lens or with your eyes :rolleyes: Also, that lens should be pretty even with CP.2 in terms of optical quality.

Definitely seems to be where it's headed but not all cameras will afford one the ability to write Prores, Cineform, or Avid codecs in camera. Also, it makes more sense to own a monitor with recording capability. My Ninja Assassin has a great screen.

That's an extreme example for sure. Wow, how dishonest can you get?

Interesting. I like the idea of a panel in a box, especially with an egg crate, but then, many LED heads use barn doors already and/or are configured as a spot.

A shot that doesn't work in the film might work in a teaser or trailer. They paid for the shot so why not use it to promote the film? It's not like they're using a whole scene that got eliminated from the final edit. I agree it's a little weird, but then it's still the same actors in the same locations in the same story.

As mentioned, balance is key and that means counterweight in most cases. You can operate hand held with a 30 lb. camera all day as long as it's balanced. I once rolled almost non stop for just over 3 hours hand held with an 18 lb. camera on an interview set up and was able to do so mostly because the camera rig was balanced. Here's a good example of what I mean with a teleprompter on a hand held 5D rig: That's 5 lbs. of counterweight behind my shoulder as well as the battery box, etc. And no, the green cable isn't running to/from the camera :-) On large budget projects, the addition of a shoulder pad and hand grips are generally all that's used. Sometimes a Mantis style rig is used which the camera just bolts onto. That's mostly fine if the camera is long enough to put enough weight behind the shoulder.

I'm all for it and all for the 100 CRI that tungsten affords.

Hasn't been "celluloid" since the 50's, people. Please stop calling it celluloid. I think his main point, that the infrastructure isn't what it used to be, is the most important thing. And just because Tarantino et al have managed to effect Kodak's production, doesn't mean labs will do the same thing for long. Film is a format. And as with magnetic tape and all things antiquated, it's going away.

Yep, a body mount, AKA "SnorriCam."

The Brown Bunny (2003)

Bruno Aveillan is about as distinctive as they come, I'd say.

You mean "set bag?" I get mine from Lowe's in the tool section. Or you could go buy a film-specific bag for double the money.

I haven't coordinated in a while, but I heard a PM on a recent job I worked on talking about PA's getting overtime. Is this happening elsewhere, is anyone aware?

I believe a Spincam rig is what you're looking for :-p

Heat should help. Get a hair dryer and blast the hood with it for a few minutes.

This and a functional smart phone with a good battery.

How would you handhold that rig?

Really nice. I shot mine with a 5D and the 24-70. Here's mine: http://www.crashthesuperbowl.com/#/gallery?video=4980 .