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Michael Kubaszak

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Everything posted by Michael Kubaszak

  1. He didn't say 2nd AC. He said loader. A 2nd should be keeping track of all that stuff. But a feature or episodic would usually have a 1st, 2nd and a loader besides the ultra low budget.
  2. As a loader why would one care about lens distance, size, and height???? I agree that you should be dumping footage more than once per day depending on how much you're shooting and the length of the shoot. Usually I'll do a dump at lunch and than at the end if there is no DIT which you don't really need if you know what you're doing and the RED software is pretty self explanatory. Check sums and make copies, done.
  3. http://www.visualproducts.com/store02.asp?ID=3
  4. But Chris couldn't you just shoot balanced for daylight(not to mention use HMI's or gel lights or use daylight kino's) and correct it in the edit bay?
  5. http://mandy.com/1/services.cfm?c1=&c2...amp;t2=&t3=
  6. http://www.boingboing.net/2009/12/08/homeb...kodachrome.html
  7. I did some extensive searching when I made my last film on 35. Deluxe in LA(35) and Deluxe NY(16) are the cheapest you'll find anywhere.
  8. Wow that's super cheap, I don't know if you'll be able to find those prices. I think raw-stock.com is somewhere around .10 cents. I used them on my last film and footage looked fine.
  9. If you're doing a digital intermediate couldn't you give the film the look of a bleach by-pass? Wouldn't that be cheaper as well?
  10. john's right. The stock you can probably get close with fuji and a good colorist in post. but if you want the whole thing to look period you should use the same kind of lights as those shooting in the 80's would have had access to.
  11. i believe all ARRI cameras that are not coaxial are 9P.
  12. First of all you are going to need production insurance before any rental house will let you take their gear out. As far as discounts, I'm not aware of a standard discount but some rental houses will 'work' you.
  13. Good Lord. People like you almost certainly lose most of their crew after the first day. And I'm not referring to your ''ignorance''. I'm talking about your attitude. You came to this website and asked the advice of professionals in the business and the first thing you do when everyone that responded with the no-brainer answer of, "of course you have to feed your crew", is turn your nose at them and say that is unrealistic for your crew to expect a poor person to pay for food. That is BS. It's unrealistic for a "poor" person to make films/videos, the cost can be staggering. Instead of getting an attitude about having to pay for these peoples' lunches you should be trying to figure out ways to get food on set cheaply. Call around trying to get food for free in exchange for a credit, call up your mom, aunt, grandma whoever and have them make alot of that lasagna that is so damn good. Have a small fundraiser. Wait until you or someone else can ''invest'' in feeding your crew. You may well go on to direct or produce with an attitude like that but there is no way you'll last a day below the line. These people are there helping YOU with your vision, YOUR art, YOUR movie. Most of them, I'm sure, would rather be working on their own project, but they are coming out to help YOU. If you have all your stock, camera rental, grip & elec, audio gear but don't have the $$$ to feed everyone; don't make the movie right now. Push it back if at all humanly possible, everyone will understand.
  14. I use rubber matting instead of steel.
  15. So the union rep is trying to get my initiation fee reduced. I did get a nice pay increase vie the iatse contract the production signed.
  16. I am a loader on a show that just flipped to union and I was wondering what I should expect.
  17. why is the 42 better than the 40? what feature specifically make it better?
  18. It is Adrian but they said they would give it indie films as well. Deluxe in LA does 35mm for .08 cents a foot.
  19. I'd definitely say yes it does matter. i have seen some film come back with a "sparkle" i.e. the negative has many small scratches all over the film, not noticeable to a general audience but to a trained eye very noticeable. Also, Astro is ridiculously expensive! .23 cents a foot! if you're shooting 16mm, check out deluxe in NY. .11 cents a foot including telecine prep.
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