Jesse Lee Cairnie

Thank you very much Mike!

I dont disagree with any of the selections, all masters of the craft.. Congrats on Mauro he definitely deserves it, even if his Cinematography was but 30% of Avatar.. thats how good he is..

My only thing is Where the Wild Things Are.. How is that not on the list? Its boggling my mind.. thoughts please..

Congrats to all of the nominees indeed.. all of those films are wonderfully shot..

I must though inquire about 'Where the Wild Things Are', did the ASC just not feel that it was a good representation of "the most artful cinematography we have seen during the past year?"

I dont wish to incite a debate, I am just curious about the thoughts of the ASC on the film, or if it was even eligible for consideration.

Cheers

Hello,

I am looking to shoot a feature in Detroit and am wondering which Rental Houses one would recommend?

Cheers!

The entire Criterion Collection is in plan to be remastered in Blu-Ray.. here is what is available so far..

http://www.criterion.com/library/bluray

and I believe all of the aforementioned movies are part of the Criterion Collection..

Enjoy,

J

i would go to the library and look for books on the psychology and physiology of color.. film books are great.. but you are getting into the human reaction to color.. and I would start at the source.. psychology books..

"cinematographers are visual psychologists" - Gordon Willis

Thank you very much Mr Vogt!

I am going to shoot a feature in NY and having never been there.. wanted to see what G&E rental house people like to use.. I found a list of 42 places on newyork411.com and I dont really want to leave it to chance to pick a good rental house.. or make 42 phone calls.. Hahaa..

Cheers!

You might have to eat humble pie .. before you can park your Bentley side ways in the producers and directors places.. and tell them you wont move it till you have finished your morning cappuccino. :lol:

BEST QUOTE EVER!! hahaa

"you might want to take some advise from the old farts" - Robin R Probyn

This was my intention with my first post.. though, yes, I could be called a "young gun," I am more than very aware of the power of the Studio and Director in decision making, which is the exact reason why I posted the question..

Thank you for the constructive input from the "old farts"... hahaa.. and how it is currently working in the big time.

Being a "young gun" maybe I can be an agent for change in the process.. I put it in my contract as a starting point for negotiation and we'll see how it goes..

Thanks for the encouragement!

Cheers!

Well I must say you have misinterpreted my post completely Mr Boddington... and apparently this has become some sort of peeing contest...

Have a great day..

Your "right"? Hmmm, that would not sit well with me as a director. As far as I'm concerned I'm the only one that has the "right" to colour correct a film I directed.

yes.. my "right"... the cinematographer not having the "right" to color correction is like saying the director does not have the "right" to the final edit.. things change.. the director and cinematographer both need be apart of those decisions.. together.. sure schedules and distance interfere along with budgets.. but a DP ALWAYS has the "right" to ensure the quality of the image to final print..

answer me this... when a scene is shot a certain way in which the DP and Director discussed and then in post the Director wants to add "red" but there is no DP to say "adding red will shift the feeling of that scene and will alter its support of the story because X, Y and Z.. what if we tried XYZ instead.." and you just add red... who wins the battle?

Ok.. so I put in my contract the half day for any post work as a starting point for negotiation.. if they balk at it, it will at least give me a point to make my case.. if anything I can say it can cover my travel expenses.. and to not sound "entitled" i wrote my clause as this..

"Employee shall be consulted on any decisions regarding alterations to the images

acquired during Principle Photography that occur during Post-Production and also be

consulted on all image alterations to the final edit before its release for distribution."

"consulted" should cover my bases of at least knowing how it will look before it goes out and have my say even if the director vetoes.. thanks guys

I'll let you know how it goes..

Cheers!

I am making a transition into bigger productions and am worried about losing my right to color the final image and want to put it in my contract at half day rate.

What are peoples thoughts on this?

Cheers

Thank you, I will experiment with Shop fixtures on dimmers... I was under the impression that if fluorescent doesn't have exactly 110/20v they would shut down..

none the less I will give it a try and see.. and I will pick up a couple bad ballast fixtures too and compare the two..

Cheers!

Is there any way to achieve this effect outside of buying used fixtures with bad ballasts?

:lol: @ Tom Jensens story... I melted an Ultra Bounce after swapping a 6k HMI lamp in a rush and spaced the lens... WHOOPS!! hahaa

I would have rolled today's sunset at t2.8... t 2 if I was concentrating on the actual setting/ post setting portion.

 

Take a spot meter and see for your self..

Im looking for the darkness of the clouds to show.. So if im at a 4.. let the sun go just past horizon.. i might get something like this?

It really is too bad that people care so much about the semantics..

I "shoot" moving images.. I am a cinematographer.. I am a photographer of motion pictures.. I am an image technician.. I "capture" light with a motion picture camera.. I am a Director of Photography.. I am a recorder of moving time.. I am a videographer.. I am a creative visual strategist.. I write with light.. I am a visual story teller.. I am a cameraman.. I am a lightologist.. I am a psychologically manipulative person that forces people to feel through imagery..

If I "shoot/capture with/record on to" film, I am no different than one who "shoots/captures with/records on to" digital.. If I "shoot/capture/record" narrative structure, I am no different than one who "shoots/captures/records" weddings..

If I create a great image that tells a story, I am doing my job..

.. and I love my job

Cause as we all also know.. our Reels speak volumes over our job title..

He/she who records images with a camera can be whoever he/she wants to be..

you can call yourself a supercalifragalisticexpealadotious for all it matters..

Cause as we all know.. Titles are for Books.. Labels are for Jars.. its what you do with your time that makes you who you are..

I happen to love the term... I also love the title of "Big Time Shooter"

Cinematographer = Photographer of Moving Images

Director of Photography = Photographer of Moving Images

Videographer = Photographer of Moving Images

Cameraman = Photographer of Moving Images

Shooter = Photographer of Moving Images

except..

Big Time Shooter = Photographer of Moving Images on a grandiose scale.. (use your imagination)

I hear that! hahaa.. I was thinking of just the ARRIRAW file itself.. the process of dealing with the information.. this is a non creative purely technical "test" of the workflow and process..

Cheers!

Thank you so much Mark,

I was on your site earlier gathering information, I must have over looked the words "Test Images" hahaa..

Thank you again

I am looking to do some research and tests to learn more on the workflow of the Genesis.

I was wondering if anyone might be able to post a link to an PANALOG file from footage they have (If thats even possible). a quick 30 sec would be perfect, just to have something to work with. I have everything I need except the footage.

Thank you.