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George Ebersole

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About George Ebersole

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  • Occupation
    Industry Rep
  • Location
    San Francisco Bay Area
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    George M. Ebersole
    San Francisco Bay Area, California
    Blueghos - at - pacbell -dor- net


    Freelance Stage Manager, Grip, Camera Operator, AD, PA, SFX Assistant
    August 1987 to July 1995, again in 2009
  1. Situation Comedies (Sitcoms) deal with family psychology. Drama deals with potential or borderline criminal behavior within familial or "tribe" units, where gamesmanship of affection, money and lawyers is the norm. Police / Court Drama deals with actual criminal cases. Science fiction deals with villains with abnormal psychology or people who cause huge rifts in society. I guess that's why I got bored with TV and feature films. They are predictable to a fault. As a former young film major many eons ago I was under the belief that you could create any story material
  2. Oh dear, did I shut down the conversation on this thread?
  3. Kurosawa's RAN. EDIT; https://www.imdb.com/title/tt0089881/awards?ref_=tt_ql_op_1
  4. Minor related rant; I bought a DVD of "Windwalker" staring Trevor Howard. It's really a remarkable film, but the only bluray available is from Germany, and apparently Amazon streams what looks like a 2K 1.66:1 version, while the DVD is your standard 4:3 SD. So … the 2K version is only available by streaming, and a bluray is an import of a film about Native Americans. For those of you interested, Reed Smoot does some really terrific work with snow and just the natural forested mountains of North America. He really captures the beauty of the great outdoors. I think he shot the film
  5. I didn't know the Aaton was still a workhorse for some people. Very cool. I talked with their LA rep way back in the 90s when considering buying a 35 mm kit, but was concerned about them being based out of France and needing servicing if anything went wrong. I've got mixed felings on cosplay. Some of it seems interesting, other people seem to be kind of "out there" for lack of a better term. Just my honest gut feeling on the topic.
  6. SF State teaches both theory and hands on, but you need to be part of the "core class", entry of which requires your student film in either freshman or sophomore year to pass muster with both student body and staff. Hence I emphasized in writing, and started my film career at San Francisco Studios run by Charles "Skip" Stanyan and owned by Roberta Reily. Steve Essock was my senior manager, and the man rarely got any sleep, but I learned about gels, gripology, divisions of labor, unions, Mole Richardson and Arri lights, Arriflex and Bolex cameras, and where the local rental houses were … I
  7. If you have a look at the opening sequence of the 1973 Salkind production of "The Three Musketeers", you'll see a similar effect as Dartangian duels his fathers. *EDIT* I couldn't find a YT clip of it.
  8. It's just the nature of the beast. The Japanese have democratized media with cheaper smaller digital cameras, and these schools have been sold on the idea that soon there would be (or "is") a need for more film schools, and wouldn't it be great if their school was one of them. To me you're expressing sympathy and outrage for students who get sold a bill of goods by buying into … I don't know … some "film school" out of University-X between the Rockies and the Atlantic, that otherwise only the locals in the state have heard about. I think that's kind of admirable, but you're also being no
  9. I don't know what to tell you Macks. August Coppola at SF State tended to hire personnel for the department who were professionally accomplished and had a real passion or love of the area. I think all but one were veterans in some capacity, and for the production department it was mostly hands on training. I can't imagine any one of my old instructors telling me to log onto some site to stream a video to learn X, Y and Z. I would think this would be more of a student faculty issue than anything you would be or should be worried about. The most videos can do is teach you mechanics, mayb
  10. My guess is that the hardware that allows HDR4K willl get smaller and more efficient, and come down in price. So much to the point that it'll become the VHS for the next 20+ years, in spite of 8K TVs, or the promise of prosumer 5K displays (an odd number, 5 ... something in the software, or so I recall from all the online material on it). I'm not sure that Joe Average is going to appreciate 4:4:4. It looks different to his eye, but I'm not sure he's really going to appreciate it. So I guess the big question is do 4K and/or "standard" bluray have the same visual impacts as widescree
  11. For Bluray investment, I've purchased films that I really like and I thought would benefit from the additional visual data. I bought the Indiana Jones set, and it looks far more crisp than it did on DVD. I have the DVDs of the Young Indiana Jones TV series, and since those were shot on Super-16 I'm thinking they're not going to benefit from a bluray release. Ergo I won't buy a bluray set if they're offered. A lot of films I saw as a kid and can appreciate more as an adult, are offered on bluray, but to be honest they look more like they did on screen on DVD than the ultra crisp image yo
  12. Yeah, I guess my response to that is, to me, it seems like technical standards are more stringent than they ever used to be. I don't go to too many movies these days, but what I do see on the big screen, and in the trailers, is that there's more control and exercising of color manipulation than ever before. A lot more. And I guess it's just the technical robustness of content that's driving the pro-monitor market. I guess it's a matter of how much artistry the director and the rest of the team want to translate to the final venue; theatre / home video.
  13. Correct as usual, Phil. I've gotten so used to watching films on my computer and new-fangled TV that I forgot about CRTs. I want to say more, but I need to sleep on it some. All in all, like I say, I was really blown away by the HDRs of both Close Encounters and E.T. I mean those really looked sterling. They looked just as good or better than when I saw them in the theatre as a kid. But like you say, current display tech hasn't entirely caught up with it yet. Ergo it feels real gimmicky to me in spite of the superior picture quality. Call me a philistine, but I really don't like
  14. More ranting; a thought just occured to me, and that is when films were released on VHS (and Beta too, I suppose) a lot of light was pumped through the prints during the transfer. Stuff in shadows that you weren't supposed to see in the release print were suddenly visible on the VHS copy. Which, to me at least, says that even though those films weren't shot with HDR in mind, you could, in theory I suppose, create an HDR of nearly every commercial film. Which leads one to ask, why not do that in the first place? Tons of examples. I won't go off the deep end too much, but I've got a B
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