Michael Kubaszak

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.

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.

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?

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.

i believe all ARRI cameras that are not coaxial are 9P.

get a tape measure

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.

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.

aren't 4X4 filters obsolete?

I use golf T's to tack in the metal or sandbag Ts if the actor's bump them around. The metal framing T's are the best thing to use to mark actors. About $3.50 at home depot. Just wrap them with camera tape in different colors.

I use rubber matting instead of steel.

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.

Time to learn what orangewood sticks are really for ;)

:o

I am a loader on a show that just flipped to union and I was wondering what I should expect.

"Spendy" is true, though i do feel my Hilti saves me $500 worth of running around every feature (whatever that means…). I've suggested before and will do so again: spend the extra ~$150 and go with the Hilti PD-42 over the 40! I ignored a friend's advice and have been kicking myself since.

 

BTW, anybody wanna buy my PD-40? (/jk)

why is the 42 better than the 40? what feature specifically make it better?

this thread is sad.

Panchro and rosco lens tissue

I would say labs are a lot like post houses. Sure they can almost all do the work.. but you need to find the one you want to work with regularly. I generally use Technicolor NY or, more often, NFL Films out in NJ.

Some Labs have proprietary techniques, and some won't/cant do reversal etc, but for neg, it's all roughly the same, minus the physical problems which can come up at certain labs already mentioned.

Find one which is affordable (.11/ft seems a bit cheap, is that a student price? IIRC it's normally in the 20/ft for non discounted) and stick with 'em. Get 'em to know you. You'll be thankful when you do.

It is Adrian but they said they would give it indie films as well. Deluxe in LA does 35mm for .08 cents a foot.

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.

Be weary about getting sand in the RED bad news. I've heard if a grain of sand gets in the right place the camera will just just shut down and be done. RED urban legend I know. But we wrapped that thing in plastic and taped most of the ports when we were on the beach down there.

looks good. wish it was shot on film.

There is nothing worse than getting to a location which is a white walled nothing and being told "Ok, this is the apartment,"

I just shuddered.

computers and editing software: 1 editing software has a learning curve. 2 Get a Mac. I would recommend FCP, also, if you have a Mac you can use one of the various torrenting sites to get the application.

Camera: the xh-a1 is HDV not HD, there is a difference. That camera should be fine, I have shot several shorts on that camera and it is okay.

Lights: unless you are shooting black and white, the lights you have are all different color temperatures and not standard ones at that(3200k, 5600k) Lowell kits are okay. If you are shooting anything you have got to have a good knowledge about lighting as that is a big part of cinematography.

i suggest finding some film students that need help on their productions(craigslist, flyers and the film schools dept. etc,) and work on them and become friends with them, pay a ton of attention and work hard. Then maybe they will help you on your project, bring some know-how and some gear.