Bob Hayes

Planning on towing is a very good idea. Get a small generator and put it in the back of your tow vehicle. It really does matter whether you are in a city or a dark area like a forest or desert. It a dark area I?d use most of your light to light the back ground from your tow vehicle. It will look like it is lit by the head lights. You just need a little exposure or it will look like poor man?s process. Hmm. Wait a minute? No money? Night photography. You really want to think about shooting this poor man?s process. 1. The director can stand right next to the cast and really direct. 2. You?ll save film 3. It?s much faster and much easier. 4. You can shoot during the day if it helps your schedule. 5. You can spend your night doing some good night drive byes. 6. Really big movies with lots of money do it.

Mitch- With regards to ballance I have a pretty good view under the glasses and can easily see where I am walking. I use them for the really high shots or for odd angles. I don't walk very much when I have them on. Bob

John: I have sort of a mistery stoke question. I was shooting Kodak 5298. Some of the footage was recans. Some of the cores where different colors. I thought Kodak always used the same color core. Wazup? Bob Hayes

Ooops. I got double posted. I usually use the net behind the lens.

My experience is that the longer the lens the less the effect the net has. Bob Hayes

My experience is that the longer the lens the less the effect the net has. Bob dp

The easiest and safest way to achieve your shots is to find a smooth highway running next to you ATV track and shoot from the highway. And remember have everyone wear helmets!

I try to keep the scene dark. If two people are facing each other with the candle in the middle I try to back cross light them. Keep the light off of the table and the backs of the actors. Bob Hayes dp

I just turned down a fairly complex 35mm film where they had 50,000 feet to shoot. It is not enough. If you shoot the standard master close up/close up on each scene that's already a 3 to 1 ratio if you only do one take on each set up. That means you only have enough film to do two more takes per scene. It's so tough for actors and crew to do quality work with that kind of presure on them. As David said 70,000 to 100,000 is the minimum. Bob Hayes DP

I own a Losmandy Jib with a 6' reach. It's the kind you operate from the front end. It's easy to set up and move around. To use the full extent of the arm move you need to close the eyepiece and look at a monitor. I use VR glasses. Jibs and cranes are kind of tricky to use. The camera moves in an arc and it always seems to arc the opposite way you want it to. My advice. Have an assistant with a metal tape measure stand where you think the base of the jib should go. Then extend the tape the length of the arm. You are now standing where the camera would go. With your assistant stationary move around. Is that the shot you want. Keep moving your assistant around until you, at the other end , can get the move you want.

I've had good luck doing 360's hand held from a wheel chair or sitting on a doorway dolly. If you have smooth ground you are good to go. Bob

I am also interested in learning more about wire work. Anyone read any good articles. Bob

I hate shooting courtroom scenes. The angles and action are repetitive. I always burn a huge amount of film. Screen direction is complicated because everyone is always looking at each other. You have lots of reaction shots because you want to know what everyone is thinking. I usually light the court room so I can do 360 degrees of shooting and then bring in floor units to increase the contrast and interest. I lay one piece of track across the courtroom in front of the judge and keep the camera moving. I then use a second camera to get tighter shots. Often times I will shoot the opposite screen direction with one camera so I have both screen directions covered.. One from the Jury one and one from the judge for example. I like to keep the cameras moving either on Dolly or Steadicam or even ?documentary style? camera movement to fight the static nature. I do burn a lot of film this way but it goes fast. Courtroom scenes are very time consuming.

Tell the producer originating on 35mm will make the film more sellable. It gives the appearance of a more professional project. Bob

The more you know and the harder you prepare the better you will do. Q: How much is a DP involved in technical script, cos sometimes I do even a picture storyboard and story breakdown to shots and angles.... A: Each director is different and will need different support. Putting the work in to do storyboards etc. is a great way to prepare as long as it doesn?t take you away from more urgent needs like scouting, crewing etc. Q: Is it only DP himself who decides which equipment to use...camera, lights, grips or he has some kind of assistant to help him specify all the terminology data... A: It is the job of the Gaffers, Grips, and Camera Assistants to know the specific names of the gear and what they need. However each DP has different styles and will need gear specific to them. Also the better educated you are with regards to the gear each department uses the more in sync you will be. I present a complete list and down to the number of Cardelli clamps I think we need to the Gaffer/Grip/Camera person over a lunch. I have gear lists from each show in a spreadsheet and because the gear lists don?t change that much from show to show it is easy to print out. The Gaffer/Grip/Camera person shows me theirs and we create a list for the show. It?s important both of you have what you need to do the show. Also it is a good time to kick around how you plan to approach the show. Do you want to light the whole show with China Balls or 18 k?s? At the end of the shoot I sit down with all departments and go through the actual list of gear we ordered and have the same meeting. What worked and what do we wish we had more of etc Q: Once director told me to plan Steadicam shot ,so I started telling the operator which way to go and what I want to get into the frame and what not, but then the director told me to tell the actors where to stand and what to do as well....tell me honestly was he nuts or was I wrong to get angry ? A: Each director needs something different. It?s our job to supply it. Some are very hands on and expect us to back off. Others want the DP to run the show and as long as they are getting what they want they are happy. You need to sense the kind of director you have. And as your relationship develops seek out feed back and make sure are in sync with your director.

When I sense I am getting that kind of light spill from a bright sky or window I switch from my zoom to a prime. I also stop down a little more then I would normally. Bob

I've been most satisfied with my Arri Soft light kit. 1 1K open face , 2 650 fresnel. 1 300 fresnel. 1 chimera. It all fits in 1 case that is light, easy to transport, and reliable. Mole equipment although more durable doesn't transport in one case. I started with a Lowel DP kit. Added a couple of tota lights and ultimately ended up with an Arri soft light kit. Then I added three c-stands, some assorted flags, grip equipment, a skateboard dolly. Please someone stop me from buying gear. My package fits nicely into my SUV. I need more equipment I rent a grip truck.

I do however feel David Mullen's work on "North Fork" was over looked by the ASC and the Academy. It was the best cinematography of the year.

If you look at the nominiees this year there are quite a lot of non ASC members. I feel the ASC does a pretty good job of both keeping the bar high and recognizing new tallent. John Aronson, Chris Manley, Eric Scmidt, Michael Mayers, Tami Reiker wre all nominated this year.

Mitch: I am kicking around a really goofy application for a light 16mm camera. I just bought a "Clip and Go" camera stabilizing device for my PD 150. It's like a Steadicam where your arm is the arm. I expect to look like Popeye by March. In addition to shooting with my PD 150 I do considerable 16mm television and direct to video features. So I'm wondering if I can muscle a small 16mm camera and fake some Steadicam style footage to intercut with an SR. When I shoot 35mm and most of my 16mm I usually bring in a Steadicam operator and luckily have worked with some of the best. But... Maybe I can fake a shot or two on some of my smaller projects. News to follow. I'm taking the "Clip and Go" to Iwa Jima next month and plan to put in through some tough tests. Bob

They Eclair ACL weighs 4.3 KG unless I am missing something

Great. Does anyone know what I can buy an Eclair ACL-2 for?

I'm thinking of buying a small lightweight super 16 Camera. It must run sync. Some High Speed sync. Have a good quality lens. And weigh around 5 Pounds. Am I dreaming?

I've shot features and MOW's in both North and South Carolina. There are great crews and a very film friendly environment to be found. Getting work comes from learning the skills and getting to know the people in the film community. Bob

I've had great luck with small generators and small Tungstun lights. A couple of 650's a couple of 300 watt lights. 3000 Watt Generator. They are noisy but if you get a 300' of extension cords and put a sheet of plywood near the set side of the generator. You should be fine. Also you may be able to find a woodsy location that has power. A friends cabin in the mountains for example. Then you will have enough power and a place to stay warm and dry. Bob