barryagilbert

Hi All, I need to do a shoot featuring the electronic billboards in Times Square, and doing a test with a 5D noticed tons of moire. Budget is low but could afford an EX-3 but wanting to confirm that I should encounter less moire with an EX. Thanks, Barry

Hi All, I am prepping a budget for a two-day S3D shoot in the NYC area and am looking for an excellent stereographer. A stereographer able to supply a turnkey solution for rig/camera would be even better but I'm not sure that exists yet in NYC. Shoot would be late October/early November. Any recommendations appreciated. Thanks, Barry

I've shot greenscreen with a variety of HD cameras and the thing to remember is that (as I've been told by compositors again and again) most of getting good keys from greenscreen is lighting it properly. I've used an EX-1, a smaller camera, on a complicated greenscreen and the DP know what he was doing and got great keys.

I did end up shooting with the 2/3 adapter and lens and got some nice images. I would do it again - we used a Fuji zoom that was nice - anyone have an opinion as to what's the best 2/3 lenses out there?

Not surprisingly your relationship with the camera house will have a lot to do with your price, as well as the state of the local market. $6500/day is a good benchmark although if you're working a lot with Panavision they'll have an interest in helping you out to an extent - although again if the camera is in high demand at the time of your project, there'll be less of an incentive. Expect 2009 to be a buyer's market all around, fortunately or unfortunately.

Hi All, I'm prepping a shoot and considering using the EX-3 with the 2/3" lens adapter and was wondering if anyone has had any experiences with that setup, and if they encountered any bugs or had any comments. I've used the EX-1 which was perfectly fine - would like to see how it does with the better glass that the adapter would allow. Thanks in advance, Barry

Wondering if anyone has any experience using anamorphic lenses on the RED - in particular Hawk V or C series lenses. Thanks!

Don't buy too much. Rent what else you need when you have a solid project and know exactly what you'll need.

That's very interesting, thank you. I think the Genesis is probably overkill for my project - I've been interested in working with the F23 so maybe this will be my opportunity. Does anyone have any experience/comments on that camera? I know it was used for the exteriors on Cloverfield. Tx, BG

I'm an LP putting together a commercial shoot in NYC and the creative team's ideal camera would shoot native 1920 x 1080, 4:4:4, and record to tape. Shooting against greenscreen. Hard to keep track of all the new cameras, does such a model exist? Thanks

I'm an LP in NYC putting together a Nike spec spot. Project is being directed by an Emmy-nominated VFX supervisor and will have a good deal of high-end post work applied to it. Looking to rent a RED for a one-day shoot, rate is negotiable. Please contact me to discuss at bigboy@seducedandexploited.com Thanks, Barry

Other than working your network/grapevine for recommendations you can start by posting an ad on Mandy.com www.mandy.com I'm a line producer and PM in NYC, feel free to shoot me an e-mail if you have questions. Barry

Sorry, Meant to Add THIS JOB IS IN NYC. Thanks, Barry

Need DP with food/beverage tabletop experience for one day shoot next week. Shoot entails soda being poured, consumed, etc. at a table in a family restaurant. Please forward resume/relevant reel links/day rate to: bigboy@seducedandexploited.com Thank you.

Hi David, I actually wasn't sure which would be the best forum category - looking to budget at 300K. Since there's nothing to go on for distribution at this point i'm doing one budget to anticipate a television pick-up in which case I;d be much less concerned about the camera as to my mind most any HD prosumer will look all right on a monitor finish but they don't all hold up when being blown up and projected. Thanks, BG

Hi, I am budgeting for a feature documentary and considering different video-cameras. My initial choice is the Varicam, but I'd prefer something more affordable if I felt that the quality of transfer/blowup were truly solid. Any thoughts about winners/losers? What cameras in yoru experience give footage that makes for the best theatrical prints? (excluding the obvious top top of the line cameras above the Varicam) Cost, quality and workflow thoughts are all of interest. Thanks, Barry

Too many variables to give a simple answer. Short version, if you are planning to project, a 16/35 disparity is more likely to be noticeable than if you're staying on a monitor. Regardless you should always shoot composites at the highest possible quality to ensure they come out well.

One thing to remember in any aspect of life is that in America, you can be sued for anything, regardless of logic or legal footing. That said, bringing a lawsuit is an expensive, time-consuming process that most people do not have the resources or inclination to go forward with. If you get a two second clip of some random guy in the background pausing to stare at your camera, spend your time worrying about finding that missing walkie, not him. If you are interviewing someone on camera, I cannot imagine why you wouldn't have them sign a release. Just have a PA standing by - 99% of the time pople WANT to be on camera, particularly if they have agreed to speak. If they are unwilling to sign a release than what they said or did is not worth adding to your program in my opinion. Signs are a good addition if they can be arranged, to establish in people's minds that you are entitled to record their image.

Thanks, I believe that's probably how we're going to go.

The original transfers would be the basis for the final master -

I have been given a VERY low budget spot to shoot. There's just enough money to do it in 35mm but it will require very careful planning. Right now I'm looking at doing a best light transfer, cutting and then putting the money into color correction of the selects. However, I'd like to put it out for opinions: is it wiser to divert money to the front end for the best supervised transfer possible (something like a supervised datacine session to HD) and then use the remaining funds to tweak the final cut, or do a cheaper transfer - maybe unsupervised on a Rank and then save the coin to get more time for a final color correct? Thanks for your thoughts.

I'm producing a spec commercial in a couple of weeks - forgive the newbie question but I'm ordering a lighting package for a stage and while I understand in the broad strokes what "distro" implies in terms of getting power to the lights, I'm wondering what exactly the components would be. What I mean is, obviously you've got lights, and cables, and power coming from the walls - what exactly is the "distro" component - breaker boxes? Many thanks, Learning on the Job

Looks good. On the web difficult to distinguish from a Varicam.

Hi, I'm going to be shooting a short project which is heavy on chromakeying. I've shot bluescreens before with 35mm but for budgetary reasons I'm interested in trying out the HVX-200 and wondering if anyone has any experience using it with blue or greenscreens and if so, what the verdict was in getting good pulls. Thanks, Barry

Sorry if this is an old topic, couldn't find anything with a search - does anyone know if there is a 16mm camera capable of variable ramps like an Arri 435? tx!