Rik Andino

Well shows or concerts usually have huge signs that say "You are being video-taped..." So usually it would do you good to post some signs that informed people that they're being taped. You should get someone's release when they featured on screeen for more than a few seconds, Especially if they talk to the camera. While generally it's not a big deal--it'll help you with lots of headaches later. Good Luck

Well you can try to get a grip intern position in an indie film And you can get some volunteer work (free work) in low-budget or student films. Since you're basically trying to learn your way to the top... You'll be working from the bottom... So you might have to get use to working for free for a couple of months. Another idea is to see if you can get some part-time work at a rental house... You'll learn alot about the equipment and also make some connections. But at some point you realize you'll have to do free labor for experience... It's one of the nasty truths of the industry. Anyways Good Luck

This is what's strange about NYU... If someone wants to study cinematography... Why are they going to go to a school where most of the students hire outside pros to DP there films How is a cinematography student going to learn if he never gets to shoot...? Sure the directors have a great student film... But if you're paying 40K a year to learn to be a cinematographer... I figure you'd want to shoot some shorts. That's what I've always found funny about schools like NYU and Columbia. Although for the record I must acknowledge... That NYU's GRADUATE film course is perhaps the best in the East Coast Doesn't matter if you're interested in being a screenwriter, director, or cinematographer... But at 40K a years it might not be worth getting in total debt to learn filmmaking from the best. Just my two&half cents :)

Technically they're not legal unless performed by a lisenced electrician... Meaning someone who is legally designated to do this. ANd it makes sense too--since electricity is something we should only let train professionals handle... However most productions (particularly indie productions) ignore this...and they perform tie-ins all the time Just don't let the autorities know about it. Anyways I hope this answers the question.

I did not make fun of the person... I barely explain what is was they were saying--and why it is a wrong approach. Yes it was rude...I can be rude some time... but if you work in this industry long enough you'll learn most people aren't nice And when they teach you something it's usually the hard way. No I wouldn't expect a student to light like someone with 30 years experience... But that's the whole point of learning--that's why you've got to do it yourself... Just like driving or riding a bike you'll never learn to drive if you let someone else do it for you. What's the point of going to film-school to learn to be a cinematographer... If you're gonna ask people to tell you what to do? There is a search engine for every forum And there is an faq page where most of the basic questions are be answered. If someone is not willing to take iniative to search for the answers How are they gonna take iniative for their own careers. The film industry is a very demanding things are rarely handed down to people.

I think you need to do a little more research before you buy anything... First you should talk to a cameraman preferrably the one who will be using the camera... If you're the one who'll be operating the camera Maybe you should rent a few cameras first and work with them and then see which one you like... You don't want to purchase a camera and then realize later on You'd preferred to work with a different camera than the one you now have. Also if you don't know much about film you should take some time to learn the basics... Purchasing a camera should be treated just like a car. You wouldn't purchase a stick-shift car if you didn't know how to drive it...would you? Like most people have said the image of S16 is less dependent on the camera And more dependent on the lens and the film--and of course the lighting and prod. design. :rolleyes: But a camera does contribute to the ease of operation And determines which kinds of lenses you can use or not use, As well as the ability to do certain tricks like playing the the shutter-angle...etc... So (I suggest) you figure out your needs first and then see which camera fits the bill. Good Luck

You call yourself a Director of Photography... but you're asking folks to tell you how to light a scene...? If you're going to filmschool is because you want to learn... How will you ever manage to learn if you don't try to do it on your own. If you just want others to tell you how many lights, which ones, and where to set them up... Maybe you should drop out of film school and stop calling yourself a DP-- You can call yourself a electric and you'll find many folks willing to tell you where to place a light. A DP's job is to make decisions on where the light will be place and what it will do. Take some iniative--if you want any hopes of succeeding in this career. Good Luck

Oh you were working in Louisiana... I was just working in New Orleans this past week... And I understand the problem... Most people haven't been to New Orleans or Louisana so they wouldn't understand... First of all it's call the Big Easy for a reason--everyone takes it easy.... The philosophy is work to live not live to work Which goes against most filmmakers' principles. So while your NY or LA filmmaker won't mind moving faster... A NOLA filmmaker will take it easy and take offence when scolded for not working fast... And if offended enough they'll walk off and go someplace else...it's the Big Easy. That said if we can remember some news from last year...NOLA was hit by a major hurricane The city was flooded yadda yadda images from CNN should come back to mind. Anyways the city is still rebuilding, it's only got about 1/10 of the population... And most of the people there aren't filmmakers-- In fact it's downright diffucult to find crews, equipment, lodging... Heck try finding a good place to eat past 10 etc.. I'm amazed at the signs on Mcdonalds and Burger King promising to hire people at $10 per hour! So saying it's difficult to find experience crew is an understatement. However it's good that there are several productions shooting in the city... The city needs to generate interest and bring back its people... It is one of the strangest & most beautiful cities in America and it's shameful it was neglected. Anyways good luck on your other projects David Hopefully your crew will be better And any experience filmmakers looking for a change of pace... ;) Hint Hint New Orleans is looking for a few experience filmmakers. B)

No they won't because they're already used to the system of working with Sony or Panasonic cameras And television studios hate changing the system worse than members of the GOP Why do you think it's taking so long for networks to adopt HD... because studios hate to break the system moving to a new format. That's why the RED doesn't have a good chance in the broadcast world... It'll be aimed at filmmakers who are more welcoming of new technology. But first it'll have to pass the guantlet and prove itself worthy. (Just like the rest of us.)

Do not--I repeat--DO NOT USE TAPE to attach the film to the take up core... It will jam in the machines during processing if it's not removed. like Tim say an easy way to do it is to fold the film and push into the slot And wind it around the core a few times...I'd do it three or four times to make it tight. You should be alright after that. You can use collaspsible cores, which are easier to wind the take up film... But when loading out they're a pain in the ass-- You have to pull out the collaspsible core and push a regular core into the wound film so it won't dish. I once spent an hour in the bag trying to push a core into wound up film...and it dished anyway. I hate collaspsible cores. Good Luck

It all depends on how much money you're willing to spend. You can get a K3 for under $500--some as low as $200 Usually a decent Bolex cost between $500-$1500...the better ones going upwards of a grand. Most Bolexes are better than K3 hands down. They're precision built, larger lens selections, have added features not found on K3s, etc... But K3s are better than parallax (non-reflex) Bolexes And if you're starting out a K3 will teach you the basics just as well. So your decision will mostly be affected by price How much you have to spend or want to invest in this potential career. Good Luck

The Arri S mags are very easy to load... All you need to is make sure the take-up is wound tight...and in the right direction You can bend tear scratch the tip of the roll does't matter...it won't get used... As long as the take-up is tight (so it won't dish) you're cool. If you think the Arri S is hard try loading Arri 16BL mags (or Arri 16M) It takes a bit of time to get used to it in darkness... but once you've got it--easier than eating pie. Good Luck

It's might be a sad reality... But it's definitely a beautiful picture. Thanks for showing it off.

Overexposing by 1-1.5 stops is good for negative film It's however bad for reversal. You know the old saying "If it ain't broke..." If overexsposing is working for you why change it.

Bill Hornsby has been teaching at BC for over 20 years. I took his Advance Cine course 6 years ago. He's a very good cinematography teacher. The thing about him is he teaches the traditional methods And teaches people how to shoot film which is rare these days in film school. Most places these day that claim to teach filmmaking teach people how to shoot video. It's good there still people out there teaching the old-school techniques... So you won't be on forums saying things like: "I want to shoot film but I'm scared..." Anyways Good Luck (it's a tough class)

Jesus, that doesn't look like a run and gun camera.

Well a film degree---which is actually a Bachelors in Art with a concentration (or major) in Film it Well it can get you many jobs just looking for a college graduate with a BA or BS Like some teaching careers where they're just looking for dedicated college grads Or a military career as an officer, or business career in marketing and advertising (your prod.) But most important it will get you into the Grad School for Business...where you can get that MBA. And since you took film classes you should have a high GPA that will qualify you. "Art classes are easy" like my friends who study science and engineering always say. So you see a college degree in anything is very useful... More useful than no college degree.

This is the wrong thread for this...but... The thing about S16 cameras is that they're mostly manufactured by two companies Arri and Aaton So they control the market...and that means they can set the price at whatever. There is also the fact that S16 cameras aren't as popular as digital imaging cameras... People aren't running out and buying S16 cameras in flocks--so they'll cost more. Manufacturing S16 cameras is probably also more expensive than video cameras as well. You can find affordable S16 cameras in the used-market and they work just as well--afterall it's the film. So most of us won't see a company coming out with a cheap alternative to S16, I know it sucks. I think the A-minima is pretty affordable at around 20K I don't know how much the new Arri 416 will cost But I'm almost positive it'll be the same if not more than the SR3--it's already got better features. Then there's the A-cam which was mentioned before...but it's not for heavy-duty production work.

So you're basically saying That the reason so many films have the shaky handheld look Is because people (and studios) think it's cool...? And the reason some people don't like it because they don't get the new sub-culture...? This a very good & interesting post.

Well you could also create a giant sound-deafening trunk for the camera Make it mobile like a tank so you can take it wherever you want to shoot. Or how about a mobile sound deafening space vacuum...? :) Sorry for being sarcastic. But the truth is unless (like someone mentioned...) you radically engineer the Bolex camera motor... They're going to be loud--it's the nature of the camera Elephants are huge, Penguins can't fly, and Bolexes are loud

Basically they're different evolutions of the Aaton 16mm camera The LTR (also known as the LTR7) being the first Than the LTR-54 Than the XTR And finally we have the XTRProd there's also the XTRPlus You can learn more about the cameras in this thread... http://www.cinematography.com/forum2004/in...t=ST&f=6&t=2446 As far as shooting S16 From the LTR-54 onward Aaton cameras are made to be S16-16 convertable So they're perfect for shooting a S16 narrative You can also find many older LTR already converted to S16 (they're very to convert) In fact it might be rarer to find an R16 LTR than a S16 LTR (but I'm not sure) As far as industry standard for S16 there is the Arri SR3 and the Aaton XTRProd You can use all the pro accesories you're used to on an Aaton (video tap, PL-lenses, etc...) The cameras have equal footing as far as tech-specs... However it's the little difference that make them unique Some folks perfer the Aaton's style some perfer the Arri's style. As far as purchasing a camera for personal use I think you'll be surprise to find that the Aaton offers more bang for your buck than the Arri SRs. If you're interested go to your local rental house and check 'em out. Anyways Good Luck

How the hell did this become a discussion on morality? I just felt like I walked into the The McLaughlin Group or Politically Incorrect. An argument about the internet & copyright infringement... Suddenly mutates into an argument on how to raise kids... :huh: Filmmakers should be the last folks arguing morality... Most of the filmmakers I know swear, lie, drink excessively--some even participate in drug use... They even steal things--(many of us have taken items from sets), They're lewd, sexist, discrimanatory, etc... But they don't copy movies...so somehow when the subject of movie piracy comes up... Some folks feel more pious then others. It's not that movie piracy is or isn't wrong--it is wrong just like speeding or grand theft auto or genocide... It's that some folks have started pointed the poius finger at everyone... And we've began accusing people of being worthless sinners when we're not so good ourselves. And not one of you have come up with... 1) definitive reasons for the acceptance of piracy among the public 2) sensible solutions to contol piracy We can all accuse each other of moral bankruptcy But none of us can help figure out a way to solve the problem. This thread is frankly becoming pathetic And I somewhat feel guilty still participating in it. And it's not a youth or adult problem--it's an everyone problem Self-righteousness is not a cure for the ill of society even movie piracy.

Well the most common way to work your way up from the bottom... You can work in either two departments the lighting/electric dept. or the camera dept. I don't know which one is better...(could be a good topic to discuss ;) ) but usually gaffers become DPs much easier than 1st AC, who usually become camera opts. (there's a difference between a DP and a Camera opt. in bigger union shoots Even though there may not be a difference in smaller indie shoots) Working your way through the system isn't an easy task and can take years... And by years I mean 20-25--a whole lifetime in the minds of most of us twenty-somethings. However it is the most common way to become a cinematographer... The other way to become a cinematographer is to work your way up as a DP Starting in smaller students shoots to the bigger more prestigious shoots This is a more modern way and not so common. It's hard because for several years--meaning 10-15 years you'll be virtually scrounging around... Competition is fierce and you'll struggle for recognition and more important for work experience... It also often involves having another job to make the ends meet & ultimately you'll never have a guarantee of sucess...it's really a gamble. You could wind up becoming a sucessful cinematographer... Or you could wind up being in your mid-thirties with a failed career and no other skills outsides of that. It's a toss-up. Anyways you can choose your path. Both ways are hard and you'll need to have talent and more important perseverance. Good Luck

Come on we're talking about a camera that doesn't exist yet. We're already making market predictions...? If it does come out and is as good as it implies...it'll be a best seller... But I'm sure all the other companies will come up with something that's just as good... It happens all the time in other markets. To predict what wil happened before we even see the camera's performance is ridiculous. Folks were saying the HVX200 would explode the film industry... And be the demise of higer-end HD cameras like the VariCam and F900 It turns to just be another camera and not as spectacular as once thought. Now let's see what will happen with this other miracle camera. On bogus predictions why don't we try to guess who the next U.S. president will be...?

The Arri 16BL is a good camera...but difficult to convert and expensive It's also noisy without the lens blimp. If you're looking for a decent S16 camera research this package... http://cgi.ebay.com/super16-CP16R-w-3-CP-u...1QQcmdZViewItem A well maintained CP16R can be a good S16 You can also search for Aaton, or Eclair NPR, or Eclair ACL like Marty mentioned Good Luck