Christopher Santucci

I'm not sure if ANYone is going to rent you gear without some form of deposit or without insurance. Check dvxuser.com for potential owners of this kind of gear who may offer to rent. http://www.dvxuser.com/V6/ .

What a shame. .

If you have a small budget, you can probably find non SAG actors of quality and thus avoid the extra expense involved with being a SAG signator. It's just probably not worth it. .

Canon XH-A1. Sony HDR-FX1. .

Great camera but has no manual zoom. .

A Chinaball is like a $6. item. Why bother building one? Don't waste your time. I routinely put 500 watt photo floods in chinaballs with no ill effects. http://www.paperlanternstore.com/noname12.html .

You can try and charge more, but my guess is they'll say no. Just do it for the experience and maybe if you're lucky they'll give you a still photographer credit and you get paying work eventually shooting stills instead of picking up garbage and makin' copies. You should ask for and receive a "still photographer" credit. It's a credit. It costs them nothing. In regard to a "set photography tool kit", I never heard of such a thing. .

Yeah, well, watch the right side of the frame as he says "... twenty nine" just before jumping. What's that all about? And if you look closely you can see the guys mouth not moving at the very end of the line before the jump. And notice the frame is locked before the jump and PSH is completely still just before the jump. Also, it looks like it was shot on VHS and the crappy video quality can help hide the deception. With rotoscoping anything is possible, and I think this is a combination of a little frame-by-frame work, editing, and some trial an error to get placement of PSH matched with the stuntman. My guess is they slipped in the stuntman before the jump and then PSH right as the car stops rocking right after the fall. Check this trickster video out too: http://vidslib.com/index.php?view=1918091 .

Seems a bit excessive... .

The bottom-line best quality/least compressed is 1080 24PA and DO NOT use OIS with the lens adapter. "Black Press" gamma setting gives the least amount of noise. .

I'm guessing the live action stuff was shot normally and had frames removed in post and the speed manipulated. I'd think that frames would have been duplicated to get that effect... I found this: http://www.xfm.co.uk/chris-hopewell-on-the-there-there-video http://www.usounds.com/radiohead-there-there-video .

You should check with the company that will be doing the filmout. They generally have specifics about how to shoot footage in regard to recording mode, framerate, shutter, etc., and should have samples of other client's work in order to help you determine the best approach for color and contrast issues. .

I think it's meant to overpower any green spill that may occur, not "prevent" it. I myself, do not use this technique, but I've argued at length with an old-school gaffer who swore that you just cannot shoot greenscreen without the rim lighting (with some magenta gel, haha.) Of course if he'd spent hours and hours actually shooting greenscreen stuff and pulling mattes like I had, he'd understand. I think if you lack the distance from the talent to the back wall, this technique might be more valid, but there still are slews of people in the industry that think the rim lighting is a necessity for greenscreen. This music video I shot and posted has no such rim lighting and was shot on HDV. It's not 100% perfect, but hey NO rim lighting. .

If that doesn't hit the nail on the head in regard to the supposed Red superiority, I don't know what does. I suppose Red's marketing process will be studied in schools some day... .

The user's manual should be available online: http://www.google.com/search?hl=en&q=S...G=Google+Search .

Perfect. .

I've never heard of this - the cast and crew helping choose actors. It's common on a non-paying or very low budget project to have potential cast flake out. On the last feature I shot, of the 20 something people who were invited to the initial casting call, maybe half showed up. One thing I have noticed over the years is that when you try to pull non-actors (models, lay people, etc) into the casting mix, they tend to flake out far more than aspiring actors, which does make sense since they may be apprehensive about their skills and of course if acting is not at the fore of their endeavors, they make decide to skip the audition. I generally notify only those selected for roles after the auditions process is over, like a day or so later (depending on numbers of choices). Actors are used to going to auditions and not getting roles and as far as I know, those NOT cast generally do not get notified. That's cool of you to let 'em know though. In general, I'd think that changing up the crew configuration before you shoot should have little effect on morale as opposed to after you're into production and the crew gets used to each other. I mulled over making a crew member change when already 2 weeks into a 3 week long feature length film production but decided not to since I felt it would have an effect on morale. The bottom line is, you have to do what's right for the film and anyone involved should understand and accept that. .

If you really need to put the talent ON the green, you'll have to tailor your lighting and wardrobe to minimizing green spill, and/or deal with it in post with spill suppression, etc. Traditionally, greenscreen footage is approached by use of space lights to get an overall flat and even light for the green, AND sources are used on the side rear of each side of the talent to drown out the green reflection and provide a white rim on the border of the talent with generally a frontal key. The "luminance" difference refers to having the green behind the talent less bright (generally by a stop to 2 stops) than the light level for the talent so as to minimize reflection on the talent while still having a suitable level of green to key with. Since you want to place talent ON the green, there's only so much you can do in terms of light falling on the green that the talent is standing on. Most greenscreen lighting is very flat which minimizes shadows on the talent that may become lit by the green. .

I had an ACL years ago and the footage I shot with it was very steady even without a registration pin. It was fairly quiet, but you'd need a blimp if shooting sound in a small room. The NPR is quite an odd setup with the big motor sticking out the bottom. As far as I know it was designed to be used as a hand held camera. .

Drown out the green by using some strong side/rear white light. And, you can have the subjects not wear light colored clothing. .

Of course it's a joke, but there's a real number at the end of it. .

Nice! Not sure about the text placement at the end though... .

http://www.cinematography.com/forum2004/in...st&p=135470 .

Try cleaning the battery contacts. If that doesn't help, someone may have left batteries in there for a very long time which may have corroded the wiring inside. .