Michael B McGee

Hey Guys,

I'm a young, non-union DP looking to build my network of key crew members. Lately, I've been shooting a lot of spec spots and low budget music videos and shorts. Fully paid gigs are around the corner. So, if you're a Gaffer or Key Grip or are aspiring to be one, then we should talk. IM me if interested.

Cheers,

Michael B. McGee

I'm still looking to collaborate with the most talented artists in Hollywood. Feel free to give me a call to discuss your upcoming project. Considering this economy, my rates will fit into any budget. so don't hesitate. Call now. Operators are standing by.

Michael

310.500.7997

try contacting this guy. I worked with him once and i remember him telling me about his helicopter rig. not sure how big it is though.

McKinney, Matt Key Grip 323.420.3275 matt@co-opinc.com

hey guys/gals,

i just wanted to remind everyone about Sony's 2.88% financing until the end of June.

http://pro.sony.com/bbsc/ssr/mkt-broadcast...88finance.shtml

hope all of you are working.

-Mike

thanks for the clip Jason. looks like the old man's still got it.

check the payload of your head and of the sticks you have in mind. if they support the weight of your camera with accessories then that's the right head and sticks for you. i would give yourself a little room though, ie: if your camera with accessories weighs 20lbs, find a head/sticks combo of at least 25lbs, probably 30lbs to be safe.

check out Panavision site:

http://www.panavision.com.au/Information/E...ocalLengths.htm

they have a lot of great cinema calculators.

same as green i suppose. yellow and orange as well. in essence, you're lightening the subject with the corresponding shade of your filter not making it white.

cool idea. good luck.

on the wide exteriors shots try to use some shinny boards or mirrors and bounce some light on him.

I don't mean to steal this thread, but i for see me getting in trouble if I posted a whole new thread for my question.

I'm looking for some recommendations for a Spot/Incident meter as well. I've read what everybody here's already contributed, but I'm looking for some more feedback.

Sekonic L-758C seems nice for a new one.

Sekonic L-608C and Minolta VI seem alright for older models.

what about this one? do you see yourself spending $2500 USA on a spot meter?

http://www.bhphotovideo.com/c/product/4192..._Spotmeter.html

I know its a subjective question that's why i looking for opinions not answers.

thanks,

Mike

Hi all.

I'm looking for a device that I can download material from CF cards directly to HDD without using laptop.

Is there any solution available?

Thanks.

i don't mean to insult your intelligence, but have you tried an internet search? i'm sure a device like that exists.

well Michael Mann/ Dante Spinotti used the EX1 with the F23 on Public Enemies. the tv show Dexter uses both the EX1 with a F23. i've heard it used with the F900R as well as the many other XDCAM HD cameras. i assume they cut quite nicely together. i would also assume that the EX1 would cut well with its big brothers, F35/Genesis. I own one and live in Santa Monica. let me know if you want to demo it.

good luck,

Mike

i've seen plenty of 60fps footage shot with an EX1 with a Extreme on the lens and haven't seen or heard from the shooters any problems with the ground glass.

well, i thought the Kaminski reference was pretty specific.

Well Daniel, except for David Mullen's contributions in the links you provided for me, no one really answered my question.

thanks though.

I just checked on IMDB, but it the film stock wasn't listed. i think sometimes they are, but i'm not sure. for future reference click on the link to "Technical Specs" on the left hand side of a film under Other Info. John also has a commentary track on the dvd.

this may have been discussed before, but i couldn't find an answer. What is a common rate for a top tier DP on a $180 million blockbuster versus the $2 million indie he/she decides to shoot? i know Janusz Kaminski probably didn't make the same rate on Indiana Jones as he did on The Diving Bell... I used to PA on big budget commercials and the DPs rates varied between $3500-$5000/10hr maybe. i heard Janusz's rate is $10 grand. not sure, but that's what i heard. now i i know rates on commercials are different from features, but i just wanna get a feel for what people get.

thanks,

Mike

great. thanks for your help guys. i'll let you know if i ever get paid.

hey nicholas,

i too own some old Minolta glass. Rokkor-X lenses actually from the 60/70s. i love them. i've done lens tests with Contax and Leica glass and found no real difference between them. honestly, my minoltas looked better then the Contax G2 lenses.

are you asking if the person directed and gaffed on the same gig or he/she once was a gaffer now director? I believe David Fincher did some Industial Light & Magic before heading to Hollywood. Ericson Core shot and directed Invincible with Marky Mark.

ok, i did a search both here and on the WWW. lets say i owned a Sony EX3 and wanted to Genlock, sync the Time Code to another EX3. how does that work and can you briefly explain what Genlock is for those out there that don't already know? also, is it possible to Genlock an EX3 to an EX1?

thanks a bunch.

Hello future colleagues,

I am an owner/operator/camera tech of a Sony EX1 and can amazingly preform the same job functions on an EX3 as well. I just don't happen to own an EX3. So, if your next project calls for an EX camera, please consider me. Thanks and I look forward to working with you.

Sincerely,

Michael B. McGee

310.500.7997

mikemcgee@hotmail.com

Santa Monica, CA USA

ok, i might be crazy but i swear i've seen a digital slr with a pl mount. it might have been a Leica even. i tried an internet search but no such luck. has anyone here seen or heard of what i'm talking about?

thanks.

thanks David. your contributions to this site are immeasurable to all of us novice but avid DPs. thanks for your time.

well i tried searching for this and had no luck. i'm in the middle of pre-production on a project and i mentioned to the producer that we need to setup a "deferred payment contract" since she won't be paying me or my crew. she said she'll speak to her lawyer and get back to me. well, we shoot next sunday and i wanna make sure my crew and myself get paid if this project makes a profit. so, the question is: does anyone know of a general deferred payment contract? should i have googled it before posting or does one even exist? also, let me know about your deferred payment jobs and how that worked out for you and your crew.

thanks,

Mike