Rik Andino

Actually when you consider it InDigEnt and Next Wave have been very sucessful They've shot several high-profile indie films on MiniDV cameras And they've gotten them distributed and screened in actual theaters InDigEnt which has produced around 18 features Most of their films features very high-profile talent Which is an incredible feat for indie films to begin with And then get distribution for all their films and actual theatrical screening... I would consider this pretty sucessful for any production 35mm, or S16... But to do this while shooting on consumer MiniDV cameras... Yeah they've got a very good record of sucess... I think Next Wave has like 5 films under their belt Only three were shot on MiniDV but they still got theatrical distribution. Anyways just my two&half cents.

You really should find another place to post this The Off-Topic section is a good place to start. When you start irritating people here you'll soon find your question not answered. Anyways I'll give you a quick answer The Mac G4 is about 5-4 years old by now... If you want a 4 year old computer it's a good deal--if not well.... Good Luck

Have long discussions with your Director... So you both know exactly what the other is thinking. Personally I lown an Aaton so I ike shooting with the Aaton XTRProd... I recommend that camera but that's inconsequential. Transfer to HD-DVCPro if you want the best resolution for low cost... Other than that take it as it comes It's just another student short. Good Luck

You can get a beefy Sachtler The Studio 9+9 would be good But might be a little beyond your price range You can search for it in the used market. A Sachtler Cine 75 HD could also work--it's a little big though A Sachtler Horizon is also good if you're looking for something lighter Of course these heads are priced upwards of $5k So it might be beyond you're budget...I dunno. An O'Connor Ultimate 2575 should be very useful. And it might be in your range A Ronford would be ideal but it's probably too expensive You should search respective web-pages for what you're looking for Also contact dealers and see just what's available in your range. Good Luck

What about the Webster? The 20' C-stand with the narrow base. I always find dolly jargon silly Like Can-openers or Pork-chops --add-on items for The Fisher

If you have a decent budget of 100k 1) you should be able to hire knowledable folks who can help you... 2) Use a quiet synch camera to shoot... If you're out to create a special look or effect you should consult a cinematographer And you can find a producers who can better help you manage the production... Movies are a collaborative effort If you surround yourself with the right people They'll collaborate to bring about your vision. Good Luck

Well the first thing you've got to remember is it's not your work. It's their work and they just hired you to do it. When you work in the service industry You have to remember the client is always right. And as long as they're happy you should feel good-- You satisfied the person writing you checks so you might get some more work later on. When you're shooting your own personal project Then you can concentrate on how you want it to look ultimately. But as long as you're a hired hand you have to remember the final product is beyond your control. That's the way some parts of the industry work Get used to it if you want to shoot commercials, corporate vid, or music vids You'll rarely have much of a say on any of those. Welt it's a decent living...so welcome to the working world. I hope the paycheck was worth it.

That's why you should also take a spot reading from the camera. It'll give you an accurate reading of the light reflecting from the subject. But let's be practical... Most shot are less than a 100' away from the subject So this issue isn't really that big of a deal. If the majority of shots were taking from 1000' or more--away from the subject Then maybe you could argue that issue. Ultimately most of us aren't theoritical physicist So what we discuss here comes from our practical real-world experience... If we tell you it works to just measure the light falling on the subject... Trust us--it works. Good Luck

Maybe you should change careers. 6 months is nothing... To become a cinematographer you might have to struggle for years... If you're already impatient now, imagine six years from now. You can do two things right now... The 1st is try to get on big-budget productions as an intern or PA And then you can work your way up the ladder till you reach your goal. This is something that is very common. The 2nd is work on your reel and try to land any cinematography job you can. That means you'll have to shoot student films, and low-budget features or shorts It also means working for free most of the time And not having the right equipment or proper environment or great crew...etc... Sooner or later you'll reel will get better though and you'll get better work. Making it in the film industry is a slow process You've gotta be patient if you hope on gaining success. Good Luck

I'm transfering S16 footage to a harddrive so I can edit it on FCP 4 I would like to cut it on DVCPro HD but I don't have FCP 5 So what the best video format I can have to work on FCP 4? Can FCP 4 handle anything better than DV Cam? Any suggestions would be appreciated. Thank you

If the cameras is in the condition you speak of... It's a pretty damn good deal... I bought an LTR54 for more than that and it didn't include a lens & all the extra stuff you had...and wasn't in mint condition either. Anyways Daniel if you're only shooting one project Why not rent a camera you can get a good weekly deal at many places Like Birns & Sawyer or AbelCine Tech. Renting is always easier than buying less worries. Good Luck

There was a thread about this a few months ago... Check it out. http://www.cinematography.com/forum2004/in...showtopic=12537 Good Luck

Well the most common thing to do Is to mount the Fisher on skateboard wheels... That should be fine and very smooth for curve tracks. Good Luck

Are you trying to discourage folks from becoming filmmakers...? It's a good tactic. :) Scare the competition away. It depends on what you do... You're right competition is very fierce But good workers and good talents are always found. The most fierce competition is between folks struggling to be directors or writer/directors... It's almost impossible to become a sucessful writer/director...(just like becoming an A-list actor) I guess coming from that point of view I can understand why you're so pessemistic. There are areas in the film industry that are easier to break into then others. A sound person can find themselves lots of work after and year or two of quality work. Just like a make-up artist or even a script-supervisor Cinematography is a more competitive position however People are usually very picky on who they let shoot their film. It seems like all the fun jobs director, cinematographer, actor are more competitive than the regular or hard jobs. So if you look at it from what you do and want to accomplish You can better assess how tough it'll be to break into the industry. Afterall it's not impossible--if you want impossible try to get the Democrats to win the senate. :) And most people are right you're better off in a production hub like LA or maybe NYC Where you can find more opportunities than in smaller markets.

Tim you will however agree that film electricians are different than household electricians... Despite the fact that they both share the same name. I think that set lighting technician is the proper term and much easier to grasp... Because that is a more accurate description of the job performed by electrics. Unfortunately most people called them electrics or electricians Which gets confusing to folks outside the industry. When I talked to a few electricians I knew And told them I worked as an electric on a few movie shoots They thought it was the average wiring stuff and installing light sockets... In fact I knew...or know very little about wiring stuff... I was mostly hanging lights up on grids. So you can see how it's confusing to other folks. From now on I think when I'm explaining it to laymen or the public I'll use the word set-lighting technician it's easier for common folk to grasp.

Try ebay... Type Aaton and search Those adapters pop up every once in awhile They retail between $100 - $300 US. Good Luck

If you're using it on an Arri S I wouldn't use anything small than a Sachtler Video 14 You might be able to find a used Sachtler Panorama which is useful too Remember that an Arri S loaded with a 400ft. load can weight 15-20lbs. depending on the lens. So you should find a tripod that can handle at least 20lbs of payload... Don't use any tripod made for DV cameras they'll be too filmsy and wobbly. Anyways shop around ebay they're usually good deals. Good Luck

Yes you can project it & yes it's got even exposure... Expect like Rakker said the first two frames are off or white. Give her try, you'll find it's not that complicated. Good Luck

Come on now, it's not that bad... Just cause you don't like the stories or ideas being protrayed Doesn't mean the technical aspect aren't top-notch. Yeah there are lots of bad movies out these days... But I'm sure 40-50 years ago there were lots of bad movies put out as well... Have you watched any of the 50's sci-fi B movies? People have become to snobby--it's just entertainment. There are places in the world were people would kill Just to see a badly pirated version of the stuff we call crap. You don't have to love it--it's just entertainment--watch for two hours. We've really becomed spoiled when we complain about our entertainment.

Well there is a difference in being an electrician and a film-set electric An electrician usually does things like wiring houses, fixes light sockets, repair fuses etc... While an electric does work with electricity they usually don't do crucial wiring... However there are other skills that are necessary... Like knowing how to operate production lighting equipment... Knowing how to operate generators and knowing how to assist the grip and camera dept. It has a simialr name but the job are very distinct... I would expect an electrician to be a good electric just from the start Just like I wouldn't expect and electric to be a good electrician. However it can very useful for an electric to know how to be an electrician (thought not necessary) It'll help you understand how to do the job better... And also if they might have to moonlight in other job fields sometimes. :)

You can also rent a distro-box normally called a lunch box You plug it into the 240 30A twistlock... And then you can plug your bates to the lunch-box. Just a suggestion Good Luck

You can say that again... Think about (trying not to offend anybody) Most of the people in this industry can't compently work anywhere else... If they could they would've gotten a better job already. So what our industry is comprised of is many egoist who wanted to be artist But had to become filmmakers... So a bunch of egoist working a collaborative job that requires people to have little ego to succeed. yeap definitely we're all mostly crazy. :)

Have you seen Gerry--it's probably the most boring film I've seen. It's got lots of great shots and I'm sure wonderful visual metaphors and other arthouse quality But it's just too much nothing for too long. As all this talk of too many close-ups... I don't notice that, I think movies have the right mixture of CU with Wide shots... I've yet to see someone bring up an examples of excessive use of close-ups in films (Lets keep it to films made for the big screen CU overused in TV is another story) I think films are still very well shot. Afterall if they're badly shot who are we to blame--we're the ones who make these films.

I hate the interview process it's just sooo manic and degrading... Both parties are trying to impress each-other but at the same time trying to maintain a certain upper-hand position--it's like a mental wrestling match. When I've needed to hire someone I always try to bring people I've worked before Or people highly recommeneded by folks I've work with before. And very important sometimes you've got to be a quick and good judge of character to survive.

1) Is it necessary? No... Is it worth it? Depends. College isn't just about learning a career. There are many things you can learn in college that won't be necessarily used in your career. If you want to get the full college experience go to an accredited university... Go study four years and maybe more if you have too. You'll get an education (& I think that's worth it) It'll also help you when you want to get that masters degree (for whatever reason...) 2) Just apply and hope you've got what it takes...usually they take the best students And they usually look for folks who are excelling in the field. If you want to go to the good schools you can always do it in grad... I feel that NYU grad film school is much better than NYU's undergraduate film school... So go to a regular undergraduate school then apply for the big ones for graduate school. 3) Well most people honestly have very little, some have more than others... but the point of going to filmschool is to learn to make films Sometimes it's better to go in with a blank slate that way it's easier to learn. But you don't have to wait till your classes start to read up on theories and practice with a camera. You can take some iniative and go and learn a few things on your own. 4) It's not as interchangeable as one would expect-- but with a little work you can learn the tricks in all three industries and crossover.... 5) Hostra has a pretty decent film program... I've known a few folks who went there and they had a good experience-- It teaches you the basics, they teach you the technical aspect And they teach you how to shoot film not just video (which is more important than people think) However it ain't cheap--my friend is still complaining about how much student loans he's got to pay I'm kinda glad I went to a CUNY (they're much cheaper). Well anyways Good Luck