John Thomas

There are a lot of things that go on by the camera and video village that don't have anything to do with photography. A successful DP needs to know how to deal with these things. I think that they are lessons in negotiation and self-control.

My first instinct to to just one huge light placed out the window, or where the window should be. In my head, if you do this, everything will just kind of work itself out.The shadows should all look natural...But my instincts also tell me this probably wont work. Whats the best way to tackle lighting this?

Follow your first instincts, once you see the light you've created you'll know what to do to fix it. It's OK to move the lights around like crazy, especially while your learning. Just focus them one at a time. Good luck, JT

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Sorry...How about: "Lighting with non-traditional lighting instruments" Homemade and hardware store units only?

If no one has mentioned it: "Lighting for two cameras" where the cameras are at very different angles and "lighting a day exterior" are ones I'd like to buy. Also: "How to shoot a useful camera / lens /'stock' test for DV and Film"

How about a DVD on lighting with an Assistant Director and Producer looking at their watches?

I could have used a DVD on "how to light a room". It took me a long time to ignore the actors and light their enviroment first... tell a story there. It's the same outside, get a good background, know where the sun is going. Those actors can be very distracting. :rolleyes:

Get any job on the set (not in the office). Work hard, keep your mouth shut, people will notice you.

With the US Writer's strike dragging on and the holidays here, there's not much work around. Early 2008 does not look too promising. How are you going to make the most of this downturn? Are you willing to take a step back and work on some art project for free to try to meet some new people? Is it time to work on your reel? The rental houses are in flux and will need some new cheap blood. How about that screenplay you put away in the drawer, is it time to make that no-budget movie? There's lots of talent available.... If you work at it you'll find some opportunities out there. Good luck to all and happy holidays, JT

Roger Deakins for me too.

I don't usually work on giant films, but my camera crew is put together by my 1st AC. He often hires a loader who he's met checking out at Panavision. Someone who has hustled for him.

If I was looking for work on a set, I would make friends with the people who hire. If you work as a PA, find out who the 2nd, 2nd AD is, leave the other AD's alone. Non union grip and electric best boys hire "green" people and when it's busy they can fill out a union job with non-union crew.

As a cinematographer I usually get a few resumes from crew at the start of each job. I got one from a guy from Ohio who had been in NYC for 5 days living on a friend's couch. He had his resume and DVD reel out there before he had a place to live. I was able to get him about 15 PA days doing light study shots for me and helping my crew at the camera checkout. He couldn't stay on as an intern because he was broke, but he managed to meet some people. He was impressive. Good luck.

That said, I have long spoken against buying equipment but I also recently bought 10 PAR cans (tungsten) and have been able to keep them working pretty well so far. They are low on maintenance and cheap, and that is what I would look for in gear I needed to own.

 

Kevin Zanit

You can do a lot of damage with 10 par cans. With pars and kinos you can rule the world.

I've got a version of my new reel that I'm pretty happy with. I used Final Cut Pro and then DVD Studio Pro to produce a finished disc from my Mac powerbook dvd burner. Now that I'm done I need to make dubs. (Last time I burned them myself) What will the duplication house need from me? Is a dvd from my mac adequate? Any tricks to this? The best possible quality is my goal. Thanks

Seriously, the final test will come when the RED camera is shot badly, not shot well, because everyone can make mistakes sometimes.

Don't worry, the RED camera will not allow mistakes. No matter what you do, you'll look like a genius. The RED camera will bring an end to bad photography for all time.... Where can I get one?

There's something very comforting about owning your own gear. I owned a big pile of stuff myself. I thought that I was an entrepreneur. It sat on the shelf most of the time that I owned it waiting for me to get it all together. Should the phone ring (never) for my very specific package, I was ready!

Don't let the equipment distract you from doing the things you need to do to be a successful filmmaker/cinematographer.

Tell us which collaborator has impacted your photography the most? I know that we are all part of a team with a common goal... blah, blah, blah, but who has made you look good, who has tried to ruin you? Who just cares about their own a$$? Who do you wish you could always work with? Have any stories?

1) Producer $$$

2) 1st Assistant Director

3) Post Production Supervisor

4) Editor

5) Production Designer

6) Wardrobe Designer

7) Director

8) other

I am noticing the grain more than I remember noticing it when it was on t.v., although those

were subsequent episodes. I never saw the pilot and these episodes until now. Was there a

particular factor affecting the grain earlier on?

Tim, I'll take a look at my DVDs and see if I can answer your grain question.

And whatever you do, don't say "we're trying to put together a core group of people for future projects..." ;)

David, I'm sure your intentions are honorable, but any DP who's worked in low budget land considers that promise a cliche'. It's OK to say it, just expect a knowing smile from any experienced DP who hears it.

That said...my first low budget feature actually did pay me a flat back-end fee. (I had received very little during production) And this Director/Producer made me part of his core group for 2 future projects. My experience is very very unusual. I was lucky enough to work with a very talented and loyal first Director. Sometimes it's better to be lucky than good. :D

Are those seats with wheels adapted office furniture or specially made for camera work?

People have used office chairs, but the problem with those is when you change direction the wheels need to swing around on their posts causing a bump. A lot of R&D went into casters for "The Job" which I was not a part of. Both "A" and "B" camera had their own solutions with help from Gary Martone, Key Grip. Sorry, I don't remember the details, maybe someone from the show will help out. Both Peter and Jim had done serious time on "Law and Order" so they came to "The Job" with a lot of tricks up their sleeves.

We would rehearse, and then the director would talk about what to shoot during the first take. On take two we were already modifying the shot, getting little important bits. Take three was usually the best because the operators were into the rhythm of the scene, knew where the handoffs came, knew the lines pat. My job was basically giving notes between takes, and letting the cameras know what the other camera was doing so that we were not overlapping too much. The operators did all the "work"

My "A" camera operator was Peter Reniers. Peter has a ton of experience as an operator and a DP. I was very lucky to have him. Peter was able to rent his Aaton to the production which helped me convince him to do the job. Jim Denny operated "B" camera, he was always looking to fit into the scene, grab a shot and stay out of Peter's way. "B" camera on this show was very difficult, Jim did a great job. Every scene was shot hand held with the operator controlling the manual zoom with one hand. They both had seats with wheels so they could sit and scoot around during a take. The ACs used wireless focus and had mini monitors on the cameras so that they had an idea of what the operator was shooting. We transmitted video to the monitors at video village. The operators were untethered and free to roam. They could shoot wide then jump in with the zoom whenever they wanted. A big part of lighting that show was keeping the lights out of the shot. The camera ruled, if a light was bugging an operator we pulled it. The sound dept. was forced to wire the actors and use the boom carefully, we'd often shoot one camera wide and one in CU. Tough show for sound. Tough show for a focus puller. Tough show for good lighting. Lots of fun with the camera. :)

That's a show where the camera operators made a huge contribution.

Anamorphic lens

Oliver Stapleton has a great little story on Operating here http://www.cineman.co.uk/operators.html

Very nice, thanks James

MY dinner with Andre was shot on 16, just so it last night and I was really impresed!

Great film!

Keep Posting my friends! ( Finishing my collection soon)

I was the second electrician on this film, one of the best jobs I ever had.

Does anybody know any details about this? Thanks.

I didn't shoot the pilot but I'm pretty sure that they did a bleach bypass or similar process. The producers decided not to continue along those lines for the rest of the shows. We shot our shows on super16 Kodak with Aatons and Canon zooms, lots of hand zooms :blink: