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Bob Hayes

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    Culver City, California
  • Specialties
    Hiking, Kayaking, Scuba Diving, Travel, Good Food, Good Wine and my Great Wife, Going to Theater, Art, Reading, Saving the Planet, Puppetry, Magic, Bringing Fantasy into Real Life, Photography, Mountain Biking.

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  1. Looking for different picture profiles. This is my EX1 setting to match my VariCam It is designed for post color correction to be shown on HD broadcast . This is for a scripted comedy. The camera was teched to a DSC chart with whites at 80 IRE and all settings on as was the VariCam. So this is how the is set up when I shoot. It seems whites expose at 78 IRE for good flesh tones. ZLBH4 MATRIX…..On Select……….HiSat Level………..-26 Phase………..3 R-G…………95 R-B………….43 G-R………….31 G-B…………47 B-R…………..5 B-G………….82 COLOR CORRECTION Setting………..Off WHITE……….Off Offset…………Auto White Balance PRESET WHITE……6200 DETAIL…..On Level…..-5 Frequency…..30 CRISPENING…..-45 H/V RATIO…..0 WHITE LIMITER…..75 BLACK LIMITER…..75 V DTL CREATION…..y KNEE APT LEVEL…..0 SKINTONE DETAIL…..off KNEE Auto-knee Point Slope Knee SAT level GAMMA Level…..2 Select…..CINE1 BLACK…..-3 BLACK GAMMA…..0 LOW KEY SAT……0
  2. I'd buy a super lightweight wheel chair. I am currently using a "Transport Wheel Chair". It weighs about five pounds and folds up quickly. Throw a board on the seat and one on the arms and you are good to go. It is thin enough to fit through doorways. Two people can easily carry it up stairs.
  3. I've had Time Warner HD cable TV for about nine months. I'm watching on a Panasonic 46" Plasma screen. The quality has been great, often telecine quality. Now how ever I am starting to see more and more compression issues. A forest becomes blocked up digital camo. Blue Sky broken down into severe banding. What is happening. I am talking about big budget series like "Hawaii Five-O". I feel like the networks are transmitting HD but are starting to use some pretty strong compression to save money.
  4. I took the route of doing both and it was very successful to me. Shooting small non-fiction out of my car allowed me to build up and pay for a small grip electric package and hone my hand held skills. Shooting features trained me to work with larger crews and complex set ups. I prefer dramatic narrative of scripted TV and features. But it is sure reassuring to know I can always shoot interviews. Lots of new operators approach me for work and I often find they lack the instincts to find the right shot. You can really pick these skills up in a non-fiction environment where YOU are finding the right shot.
  5. Operating is the best job on the set and I love it. It really keeps you connected to the cast and the set and to the visual image. I work with two great operators and I often feel left out of the process. But, as a DP, I also have other responsibilities. I am sort of a firefighter who has to keep an eye on the whole forest and put out the fires which often isn't as much fun as operating. I am constantly asked to look at schedules, pre-light sets with the gaffer, or talk with the effects supervisor. There are a lot of things that would fall through the cracks if I spent my time behind the camera.
  6. I like the Arri soft bank kit. 1 open face 1K with chimera 2 650 Fresnel 1 350 Fresnel I then added a Lowell pro light 250
  7. There have been a lot of exciting changes in digital project in the last few years. The success of 3D especially animation is forcing theaters to bite the bullet and install at least one digital system. Also because quality digital projectors are getting cheaper some theaters are installing them specifically to show local advertising. Coke can afford a 35mm print for their commercial but Norm's hardware and mattress store can not. By installing digital systems they can run local ads before the 35mm commercials. This means many independent theaters have the systems in place to play your movie.
  8. Getting footage to show is one of the toughest aspects of being a DP. They scrutinize your reel when they hire you and then refuse to give you footage when you are done. Even if they grant the access the cost is often expensive. This is what I do. I put it in my contract. "Access to master footage for personal use, after theatrical release." With feature films I wait until they have a promo reel cut for sales of the film. The footage is usually very high quality and is distributed to a lot of people so there is little concern of letting the footage go. The length is 2 to 5 minutes with music and decent effects. Because it is short the dubbing cost is reasonable. I pay for the costs myself. The down side is it is often not the footage you are looking for especially that great crane shot you wanted to put on your reel. The upside is it is often some of the best stuff from the film and I can get it before the film is released. Most of my reel is composed of footage from this source. If I am really jonesing for that special shot I approach the producers after the theatrical release and ask for access. Currently I get a DVCAM dub of the whole film. This can be two years after I've shot a project.
  9. Transfer your footage to tape. Do not try to cut film. The glue will ruin the project. Once on tape you can edit it in your computer and output a quality image.
  10. I would tell the director to shoot it himself. That would mean only one person on the payroll and 100 DAYS OF SHOOTING! Wow! I bet he could do a great job with 100 days. That would only be 1.2 pages a day. Imagine the quality.
  11. All around great film. Gorgeous cinematography, acting, writing, and especially directing. One of Tarantino's best. I thought Hitler's make-up was atrocious. He looked like Al Pacino in Dick Tracy. Really distracting.
  12. The 1 x 1 light panels work very well in limited situations. In run and gun low light environments they are unbeatable. The are light, easy to use, the batteries last a a couple of hours, they are daylight balanced. They are easy to gel to tungsten. On the down side they are not vary bright. In an interview step up I barely had enough light to get key with an HVX 200. Also the are not very soft. It is a 1x1 source. That is like a tweenie with diffusion on the doors. It certainly isn't a Chimera. Also they are very spotty. That is how they get the exposure with sure a small unit. This is good if you want to keep the BG down. I barely had the spread to over two people. Also it just isn't flexible. You can put a tweenie in a Chimera on one shot and put a slash on the back wall on the next.
  13. First of all forget the lights. They will be expensive and ineffective. Get yourself a 4 x 4 bead board and use it as a bounce fill. Cut it in half and tape it so it fold in half for easy transport. A flex fill is another option. It is easier to transport but less sturdy to use. As far as opver heads. I like my 1 stop Wescott flex. It easily cover one person and two if the are close together. http://www.bhphotovideo.com/c/product/6276...4_One_Stop.html Next step would be a 6x6 frame and some c-stands.
  14. To use a very obscure analogy Sun Tzu in "The Art of War" always emphasizes the importance of stopping problems before they become problems.
  15. If you get a chance see the original. It is a hoot.
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