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Joe Riggs

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  1. ello, I'll be working with a project that was shot on 35mm film in anamorphic. I need to unsqueeze and possibly transcode the footage. I haven't worked with film in ages but from what I recall, I should expect to get a drive with a large file or a few large files on a harddrive, depending on the amount of rolls shot. Depending on what they codec they telecined, I may or may not have to convert to Pro Res. So I need to do the following: 1. Transcode to pro res 2. Unsqueeze the anamorphic image 3. Subclip the takes - Instead of subclipping, is there a way for it to automatically detect clip breaks, and every time the camera starts/stops, you get a new clip. Is this possible using log and transfer? 4. Export the takes for review. So what's the best workflow to handle this? Is it possible to transcode as well as unsqueeze in mpeg streamclip? Would Cinema Tools be the app to unsqueeze in? Log and transfer in Final Cut or should I just check anamorphic in Final Cut? Is there a way to batch exports subclips from the browser? Thank upi
  2. yes, it's human. I figured it would be an issue. What if instead of crawling we have the monster just on the wall, like he is hanging from it or attached to it, how would this be done on the greenscreen? Could we use a flat surface and angle the camera? Thanks
  3. Hello, So there's a couple of scenes in this short, that are rather advanced for me. 1. We want this monster to climb a wall and end up on a vaulted ceiling like this . The shot is static so we shot a plate of the empty ceiling and took some measurements, but what do I do on the greenscreen set? How do I have actor move, and camera positioned/angled to make this come together in the composite. 2. There's a part where a person with a flashlight comes across the monster and the monster moves toward them. So the light from the flashlight illuminates the monster. We shot a few plates, as we were not sure which would be best, we shot one with flashlights on the background and one without. So we have a few options on the greenscreen and I'm not sure what will be best for the composite. Just to be clear we don't see the actual flashlights in the composite, just the light from them. 1. shoot the actor with flashlights, and composite him into the plate without flashlights. 2. shoot the actor without flashlights, and composite him into the plate with flashlights. 3. shoot the actor and flashlights separately. 4. cgi the flashlights? Any help is greatly appreciated.
  4. Does anyone know why Fincher replaced original cinematographer Fredrik Bäckar(who used to post here)after eight weeks? I know Fincher can be really demanding but this was a huge break for Bäckar. I wonder if anyone can shed some more insight on this, instead of the usual "creative differences". Did they reshoot his stuff? If not, a bunch of what is in the film is Backar's work, yet he is not credited. Does anyone know how Backar (a relative unknown) landed such a high profile gig?
  5. Hi, Going for a high key look with a white background (just a wall not a cyc unfortunately), other than white what would be some colors to avoid and some that would work well for wardrobe?
  6. New to the L.A. area and I need to rent a grip truck for a 1 day low budget shoot, any recommendations? Thank you
  7. For those in the industry, which digital cameras do people shoot commercials (the ones you see on TV) with these days? RED, F35, ALEXA? Thanks
  8. Hello, When you are discussing a project with a director what are essential questions to ask and topics to cover, (other than dates, # of shooting days, payment)? Thank you
  9. Joe Riggs

    Arri S vs CP16

    Hello, I have access to an Arri S and a CP16, and I was wondering which one would you choose to shoot on and why? Thanks
  10. Jeff, It is "Ready When You Are" by Jerry Ziesmer an A.D., and it covers his experiences on a number of films but mainly Apocalypse Now. Storaro is quiet a character, and the stories about him and his crew are the best parts of the book. For example, a member of his crew refuses to film a shot until Storaro personally gives him the F-stop - the only problem is Storaro is 30 miles away. Another great story is after Coppola shows Storaro, the shots they need to get that day. Storaro and his crew dissapear into the jungle, Jerry, Francis, and the actors wait, and wait, and wait.... Finally, the light is just right, Storaro and crew spring forth from the jungle, Storaro announces "We have 30 minutes of light and we must do 12 shots!" They proceed to accomplish this impossible feat.
  11. Having recently re-watched the film, the shot David mentions is the only one that remotely resembles what is described in the book. However, according to the book the shot only contained two Hueys, and they joke about the shot as being from a "dolphin's POV", which leads me to believe it is a different shot that did not make the cut.
  12. I am reading a book, where a crew member talks about working with Storaro on Apocalypse Now. He describes a shot that takes place during the Huey sequence, that required Storaro and his crew to build a dolly track secured to the ocean floor. They eventually pull off this amazing shot, but I do not recall the shot in the film. Where is it? Did it get cut? Anyone know? Thanks
  13. Hello, I have a shoot coming up, where a significant portion will be hand held. I have been taking in the work of Prieto/Iñárritu, and they seem to have that style down. Most of the times it is not too erratic, and they come up with some wonderful compositions. We did some tests in the location, a office room which is really small, and I found it difficult to come up with interesting compositions, and follow the actions without it looking too clumsy. Moreover, maintaining focus is really difficult. Any tips to this style of hand-held work? I'm sure, much thought goes into it but at times, they seem to just follow the action, and pan all over the place.
  14. I'll be shooting a short that takes place in a hospital/clinic. I'm finding it difficult to come up with ideas to make it look interesting. Any ideas or movie recommendations to get inspiration from would be great.
  15. Jason, I understand where your coming from, unfortunately, it was just an experiment with no real context, at best I was just trying to create an interesting look. However, reading ways others might approach it or augment the lighting is fascinating, and I see how certain suggestions would make a significant benefit.
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