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Philip Reinhold

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Philip Reinhold last won the day on January 19 2018

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About Philip Reinhold

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    Berlin, Germany
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  1. i don´t like to say that but… https://www.quora.com/Why-do-writers-use-old-typewriters-instead-of-computers many still use typewriters… haha
  2. I think that this debate will become very offtopic now... these "roger deakins" said…blabla… argument doesn´t attract anyway, he has shot hail ceasar on film after he shot some stuff digitaly… sure couse of directors wishes and not everyone shares deakins opinion. Currently Linus Sandgren is one of the most wanted DP's and he shoots everything on film...Bond25 as example… like many others still do if they can & are allowed to… you can discuss it to death here but however I think the "main“ topic question is answered…digital is & can be cheaper… However many people, me included loves Film and im glad that Film is still far from death. Also we have a re-growing infrastructure these days. New labs starting their business again, especially in europe. And thanks to kodak and their marketing it´s easy to access like 10 Years ago… the deepest point in celluloid history was 2015… since then its start rising again. And let's all be lucky that we "still" have these options now. I wouldn´t shoot everything on Film… but if I see any sense behind it I will always try to. And if we are already Offtopic and talk about home cinema vs porjected cinema... sound will make 60% of a good movie ... many cinematographers let that out of sight... and for good sound you need a good room… thats what makes "cinema" special… no matter how good your home system and your projector are. P.S. i do not go to a cinema just to see a good story, i can read books for that. i also go to the cinema for an audiovisual experience…
  3. That's the problem I always have with most digital jobs ... the AD does not care and records every rehearsal ... then they have to select too much footage in too tight timings in the edit room, miss a lot and then come the calls ... why did not you shoot CU / PickUps etc ... we did ... they just have to find the needle in the haystack.
  4. actually, it's more the art-house films that are increasingly turning to shoot on film again these days. from what i see at filmfestivals. However i think the majority of productions will be for sure digital and sure its cheaper… & a bit off topic… but my personal favorites the last season where it was pretty enjoyable to see them shot on film:
  5. Sure, digital can be a lot cheaper ... especially for independent projects with Blackmagics, Sony & Co. which can record on simple walmart SSD, notebook-based NRLs and grading/online... the price is not comparable. However Film looks different, has a different Workflow & generates less useless footage... For large projects that require a lot of paid edit, good on set DiT, post & Storage workflow also has its price, its maybe more close by... But this is the project area where you also ask about 2 complete sets of Panavision Primos, some more units or if you could be okay with Cookes or just Zeiss super-speeds… If i read a script i think okay this could be look great shot on a clean LF alexa/venice look or this could be more interesting on 16mm, or a documentary style on a blackmagic whatever… and then i look for the budged. If i see film and can make it possible then its nice but i think nobody should say… we have to shoot this on whatever because when we´ll keep a 5:1 ratio it will be cheaper or… am i wrong?
  6. I really do not get you guys... let everyone shoot on what they want to shoot... do not blame anyone for choosing their format ... be happy that we still have "all"! the options! I just see relgion discussions here...
  7. Its not that easy… especially in Europe (where low-budged is big budged 😉 ) The German market is one of the most oversaturated and special film markets. Even if you have been working as a camera assistant or gaffer for some years, it will take ages. We have 5 big (and some smaller) film schools, HFF Muinch, DFFB Berlin, HMS Hamburg, HFF / Filmuni Babelsberg, Filmakadmie Ludwigsburg… and all of them send at least 6 good selected cinematographers per school to the German & International market every year. Most of them worked as electricians / AC / gaffer a few years before study and the chance of being engaged in a Filmfond-sponsored television or Cinema production project without having to study there is very low. However, working in the lighting department is the most interesting you can start today. The camera systems change every year and are not that difficult to learn anymore. So there will be more opportunities to be hired as they usually require more electricians than AC´s per Project. So look for an Crew who will pick you up as the "Spark/Licht-Assi" / "Halber Beleuchter", and move on from that…
  8. Sounds like a terrible attitude… so i am glad that I live in another bubble, where the goal is to entertain an audience with art in the first place ... and earn a good living by doing that.
  9. As far i know most "professional" festivals will bring a good story and a good movie to the top, no matter if shot on whatever or who played in! The medium should be always the last choice! Most important is always what happens in front of any light catching machine at first place…
  10. I would agree on some terms, we shoot 85% digital and i like what i can get out of a Alexa & Venice especially in Lowlight. But i also just shot a Internet Beauty AD on 35mm because the American Celeb Actress Woman wanted to have her skin looking the Kodak way… just saying. There are still some "normal" jobs and even also some Television Shows shooting on Film. Its also a Trend in the AD world right now especially in Europe & North America. Its much less than in the past, but still not dead. 4 Years ago there was this almost film is dead scenario with a close death of kodak… but its rising again because of filmmakers whiches. We got more and new Labs in Europe. B.T.W. i got more **(obscenity removed)**-Ups shooting digital as shooting on Films in terms of Stock & DataSafety… especially with RED…
  11. Sure there is always a Top-Level & Superman Fee. For me it was an average minimum salary and I mean in euros & small germany television market… The weeks in Germany are 5 days / 10h basis. AC's do not have their own equipment, usually they get everything from the rental. And most productions already have their rental deals which include everything up to cinetape´s and carts. I remember i owned a Magliner and they rarely wanted to pay for it… Same now as DP. I only own my Prep & Expsoure Stuff / Meter's and smaller tools that I use for Jobs. My older 16/35 equipment is mostly for my own pleasure and rarely as additional-cams... it does not make much sense to have a camera in my position these days. You´ll have to fly with it and again most producers have their deals with Rental Houses and I could not and did not want to beat them. It's also based on projects which format Alexa / Film / Venice...to go. btw. i added the iatsi fee excel from 2018
  12. True… but beeing a DP is not just having knowledge of camera & film techniqe but also 24/7 about a really good self promotion, heavy networking and maintaining contacts, good physical health, ability to travel everywhere, neglecting your family (which is the toughest part) and mostly a really strong menthal health… You´ll hear more „no´s“ than „yes’s“ in your career no matter how good you think you are. This is particularly bad in advertising. You´ll have good and you´ll have bad years… nomatter if you´re a A List or just midrange DP. I wondered about the well known DP´s who worked in film schools and told their students that maybe 5% or even less will survive in this business… after 15 years in the pot I know ... it's a hell of a hard job and not healthy at all. So there is a reason for that Fees, and without them im sure more people´ll give up at some point. However im still loving it…
  13. Let me add also something in addition, on big features and succesful movies the dp can certainly be involbed in the profit/exploitation rights… https://www.independent.co.uk/arts-entertainment/films/das-boot-cameraman-wins-540000-in-lawsuit-35-years-later-a7071566.html
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