Paul Maibaum ASC

1-11-08 LOS ANGELES (Reuters) - Walt Disney Co President and Chief Executive Robert Iger received a 7 percent increase in total compensation in fiscal 2007, to $27.7 million, according to a filing with the U.S. Securities and Exchange Commission on Friday. Disney paid Iger a $2 million base salary, plus a $13.7 million bonus. The company expensed $7.9 million in stock awards and $2.2 million in option awards for Iger during the fiscal year ended September 30, the company's proxy showed. AND...... From unitedhollywood.com POSTED BY LAETA KALOGRIDIS (wga member-BIG credits on imdb-she's the real thing) "By way of context -- if the WGA got everything it was asking for, it would cost Disney $6.25 million a year. Mr. Iger could write a personal check to end the strike for his whole corporation -- and still have a little over $21 million left over." Keeping it honest: the $6.25 million is just for the WGA contract....it does not include potential residual payouts to DGA, SAG or payments into IATSE pension and health plans which will all increase with an increase in WGA residuals, it's called pattern bargaining (what the industry is hoping will happen if and when the DGA settles). So Bob might not get to keep the entire $21,000,000. But keep in mind - that compensation is for one employee of just one studio.

David, You should be getting an e-mail from Local 600 addressing the Axium issues. I forwarded a copy to you as well.

I might as well recount the dream I had a couple weeks ago (wga strike = too much time on the internet).... Had a dream I was again operating for Dean Semler (I operated for Dean on "Young Guns II" "Impulse" and a bit on "City Slickers" which was an experience that needs its own thread) and I was on the phone with him discussing rates for the rest of the camera crew. I was ok with the rate I had negotiated but I felt that the rates for the assisitants were below what they deserved. It was a very cordial phone call, that was the extent of the dream. However, the morning after said dream I saw Dean at the local car wash. I haven't seen Dean since a screening for "Apocolypto" last year. I told him that I had just had a dream that had included him and he asked if I really wanted to share it with him. I told him about it, we chatted for a bit (Dean is off to Australia for "Justice League"), mostly about what a coincidence the whole thing was.

As a freelance crew-member (or writer, director and even producer) in this business one has to be prepared for periods of under-employment. As one who works primarily in episodic tv, I know that employment can be cyclical (pilots in spring, series in late summer) so I have become accustomed to squirriling away finances as a hedge against such times. I knew that a work stoppage due to a strike by the WGA was a real possibility, if not inevitable, so while I was employed during the past year I took that into account in terms of savings and expenditures. However, I am not just sitting on my hands waiting for the strike to blow over, I am in contact with people I know who are producers of documentaries and reality shows to let them know of my interest in working with them on their projects. I don't know that there is much of a difference in how the West or East Coasts have been affected by the strike, I believe its bad no matter where one lives. Granted, weather and living expenses do differ greatly and the East Coast has higher living expenses in many areas, (NYC) and the weather sucks at this time of year making it much more difficult to sit outside at Starbucks having a cup of coffee and enjoying a book. But if I had to take some kind of job at said Starbucks or drive a cab or take short term employment in a retail establishment to support myself and my family I would not hesitate to do so. Hang in there everyone and let the New Year bring health, happiness, resolution and prosperity.

On the WGA Strike, for what it is worth: There is a website, http://www.deadlinehollywooddaily.com/, that is mostly infotainment and scandal-sheet type headlines, and it is supported by ad revenue so I read and believe what I read at my own peril. But sometimes there are interesting, thoughtful and intelligent comments to the mostly self-aggrandizing posts by one Ms. Nikki Finke that are found on the site. I include one such comment below, in it's entirety. (it is response to a post entitled "Strike-Wise, What Should Happen Next?" - a solicitation for "theories/predictions/suggestions" about the current strike by WGA members against the AMPTP.) "HERE?S THE PROGRESSION. Here is the sad but simple truth of the action in which we find ourselves. This strike has always been a six month strike, no less. Even the studios have said so privately to many of their top producers, especially film producers. I?ve heard it directly from a number of high-level execs. The strike will end in March/April. No sooner, but also no later. Here?s why. December obviously is gone. January they?re going to let the WGA stew to see if the guild breaks. There will be some kind of broad outreach in February, where the AMPTP will come back again ?to put the town back to work? but put forth essentially their original offer to see if they can pressure the WGA into taking it. That has always been their game plan. The studios were having high level meetings for over a year determining what they would offer, and what they would force the guild to accept. This is all part of the process of wearing down the WGA. It is, however, in March/April that the strike will really begin in terms of effectiveness. That is the ONLY window where the WGA will have a chance to up the deal, because of what?s around the corner. Understand: The AMPTP does NOT want to see the strike extend into May-June because not only would that put all three Guilds into negotiating at the same time THIS year, but it would also put them into that position three years from now when the contracts expire, something no one else has seemed to mention, but which the studios are very much aware of and wish to avoid as part of their long-term planning. They?re going to want at least a couple of months between the next WGA contract expiration and SAG/DGA. So: March/April. This timeframe allows the AMPTP time to solicit multiple script orders from their favorite and trusted show runners and go right into production without a pilot, allowing them to salvage the fall 08 season. They?ll be short orders at first, just to hedge their bets, but enough to save the fall. Anyone who got into this strike foreseeing anything less than a six month strike was living in a dream world. Until then, the only thing everyone can do is batten down the hatches and hold tight until April. A hard truth but it?s honest. Comment by A Joint Member of WGA/DGA ? December 28, 2007 @ 12:09 am" Most post comments anonymously, like the poster above. I am in no way affiliated with www.deadlinehollywood.com and the comment above does not necessarily represent my own thoughts on this matter, I post this here simply as food for thought.

As far as the strike goes.....both sides deadlocked with no negotiations scheduled between AMPTP and WGA. DGA starts negotiations with AMPTP after the first of the year. No more scripted television being produced in L.A. as of this week. At L.A. City Council meeting yesterday (Wed.) a resolution was passed asking both sides to get back to the bargaining table, resolution has no teeth. Financial impact of strike discussed. "LA County economy could take a $380 million hit if the writers' strike continues as long as the 1988 labor action, which last 22 weeks. But that figure is 1/10 of 1% of the LA economy, so the overall impact was said to be "very modest"." (quoted from http://www.deadlinehollywooddaily.com/) Interesting and articulate posts without all the histrionics at http://www.huffingtonpost.com/tag/writers-strike.

As a Local 600 member if the WGA is picketing your workplace, the "no-strike clause" in our contract means that you are bound by the contract to report for work or suffer whatever consequences the employer deigns fit. However, you can march all day long in front of Rockefeller Center (or wherever they're picketing in NYC) in support of the WGA if it doesn't prevent you from carrying out your duties on a Local 600 job.

Work your way up from camera assistant (loader, 2nd assistant, 1st assistant) , gripping, or working as an electrician. In the non-union world you can float around the departments but (in my opinion based on my experience) you will be able to move up the ladder more effectively in the camera department. Working in the other disciplines can give you great set experience and, as a Director of Photography, knowing something about what an electrician and a grip does on set is very beneficial. Be prepared for roadblocks and frustrations every step of the way.

"How often do you shoot on primes vs. zooms?" On "Samantha Who?" I use prime lenses (Primos) 99% of the time. Using prime lenses does not slow down the process of making our days at all. Among the advantages of using prime lenses for me are that the camera footprint is considerably smaller, the lenses are faster than zooms, the smaller front elements reduce flaring, I believe that primes are slightly sharper than zooms, and the use of a fixed focal length lens forces us to move the camera more with the dolly than relying on the zoom to adjust the size of the shot. We carry two zooms lenses in the camera package, a 4:1 and 11:1, and I will use a zoom when the camera goes on a crane (remote or otherwise) or in certain situations where re-sizing during a take is required, shooting crowd reaction shots for example.

Most, if not all episodic tv crew are covered under the IATSE Basic Agreement so you would have to become a member of Local 600 before you could gain employment. There is little difference between working as an assistant camera person on episodic tv as opposed to what you call "narrative film", which, I take it to mean features and shorts, other than the assistants have to work faster because episodic tv schedules are usually truncated as compared to feature films. There are no shortcuts to getting tv work. The union, as far as I know, no longer has a sanctioned training program and due to liability issues most productions will not hire interns who work for free. My suggestion would be to continue to get on non-union productions in the hopes one will get organized by the IATSE and keep records of all your employment because after a certain amount of non-union work (check with local 600 in L.A., 323-876-0160) one can become eligible to apply for union status. Then one has to be placed on the industry roster in order to be hired by any of the major production companies that produce episodic tv. This also entails taking Safety Pass Training Programs, check with Contract Services (818-995-0900 - http://www.csatf.org/) for details about what is necessary to qualify once you have all your union hours. Best of luck to you in your endeavor.

Due to the strike between WGA and AMPTP there hasn't been much to report. However, during this time I have taken the opportunity to sit with the colorist during final tape to tape grading sessions. One interesting note is that when I came on board the show there was the prerequisite discussion about "the look". I was told by the line producer that the studio and network thought that the pilot episode looked a bit "dramatic" for a comedy and perhaps could use a bit of a lift in the overall lighting. I had no problem with that request as long as everyone (show runner/exec. producers/studio/network) was on board with this slightly different interpretation of "the look". I was then told that the show runner and the execs. were very happy with the look of the pilot and beyond helping the lead actress out with some "cosmetic lighting", did not want anything to change. Then, a couple of weeks ago I received notes from the show runner/exec. producer that he thought the show needed to be brighter, more in line with a standard "comedic look". So with that in mind we have been lifting the levels in the tape to tape process to give the show runner what he desires. It is interesting how opinions evolve in the creative process and my goal is to give the producers, studio and network what they want, even if that notion changes through the course of production. Camera crew: *note the Genesis deck and power supply separated from the camera body for steadicam use and the mini ring-lite on the camera.

March and Rally date changed to December 9, 2007. check website for details - http://www.strikeadeal.blogspot.com/

Genesis has a 35mm chip, F23 2/3" chip. Use 35mm format lenses on Genesis....35mm depth of field and that much more info going to the chip. Based on that comparison IMHO I would say Genesis preferred system. I have not yet used F23.

"WGA strike burns Pinewood Stock falls 7.5% following 'Angels' shutdown" http://www.variety.com/article/VR111797645...d=2821&cs=1

flood as in dud, mud or blood. or as mentioned........"floods of water"

Back To The Table website up: http://www.strikeadeal.blogspot.com/

Schneider Optics (800)-228-1254 or (818)-766-3715 Birns & Sawyer (323)-466-8211 Alan Gordon Enterprises (323)-466-3561

The following is an e-mail that has just recently been circulating between film and tv crew people who are or are about to be affected by the current strike between the AMPTP and the WGA. There can be no resolution without negotiation. This is an effort to simply get both sides to return to the bargaining table. Colleagues, The response to the initial email has been overwhelming. I've received over 100 emails today in response, every single one positive. Most from people I do not know, which means you are all sending this to friends and colleagues -- perfect! Our objective should be to get absolutely everyone involved -- please feel free to send this email on to as many people in the industry as you can -- all departments, as well as vendors, police, drivers, caterers, etc. This strike affects us all! (For those of you who may be reading about this for the first time, the initial email is reproduced below.) We are looking to hold this Back to the Table March/Rally on Sunday Dec 2 , 9a to 11a. If all the pieces fall into place, we'll march from Hollywood & Vine to Hollywood & Highland, where we'll hold the rally. Mark this date on your calendars so you can be sure to make it -- and bring spouses, significant others and kids. So far we have heard from crew on Nip/Tuck, The Closer, Pushing Daisies, Deperate Housewives, How I Met Your Mother, Heroes, Saving Grace, Reaper, Samantha Who, Lost, Chuck, Eli Stone, The Office, CSI: Miami, The Unit, My Name is Earl, Legally Blondes, Sweet Nothings, and Swingtown. All have pledged support and said they would turn out. If you know people on other shows, please send this email on to them and encourage them to write me. We want representatives from every show in town! If you have specific connections to the media, please let me know. We will be setting up a web page, and email list for regular updates. Stay tuned -- and get organized! Thanks. Chris Griffin grffn@aol.com Colleagues: I'm casting about to see what kind of support there might be for a mass march and rally demanding that the WGA and the AMPTP get back to the negotiating table, NOW! As Dale Alexander, key grip on The Office, wrote in his letter to the L.A. Times this week, "I respect the WGA?s position. They probably do deserve a larger percentage of profit participation, but a lengthy strike will affect more than just the writers and studios." For every writer on strike there are some 10-20 crew members out of work. For every AMPTP member staying away from the negotiating table, there are 20 industry professionals unemployed. For every television series shut down, there are over 100 crew people without jobs. (Here on Nip/Tuck alone, we have 7 writers out on strike, and 120 crew members out of work.) Sooner or later this strike will be settled. Why wait four or five or six or ten months, causing untold damage to our industry and ruining lives. GET BACK TO THE TABLE NOW, and work seriously and responsibly at negotiating a new contract. Drop all the spin, on both sides, and start talking to each other. We in the work force can sit back idly and do nothing, passive victims of this devastating blow to our industry and our careers, or we can take action ourselves, demanding that the opposing sides get serious and get to work hammering out a deal. A contract will be forged sooner or later -- let's demand that they stop posturing and get back to the hard business of working it out NOW! Would you and your crews & your friends in the business turn out for a mass march and rally? Would you be willing to help organize such a thing? Help with publicity? Get vendors involved too? We would need everything donated -- march/rally permits, stages, sound, signs, etc. Celebrity participation would be effective as well. And with no agenda other than to get the two opposing sides back to the table. Your thoughts? Chris Griffin Line Producer, Nip/Tuck grffn@aol.com The LA Times just published the following email from Dale Alexander, a key grip on The Office, which puts the severity of this strike into clear perspective: ?Our show was shut down and we were all laid off this week. I?ve been watching the news since the WGA strike was announced and I have yet to see any coverage dedicated to the effect that this strike will have on the below the line employees. I respect the WGA?s position. They probably do deserve a larger percentage of profit participation, but a lengthy strike will affect more than just the writers and studios. On my show we had 14 writers. There were also 2 cameramen, 2 camera assistants, 4 hair stylists, 4 makeup artists, 7 wardrobe people, 4 grips, 4 electricians, 2 craft service, 4 props people, 6 construction, 1 medic, 3 art department, 5 set dressers, 3 sound men, 3 stand-ins, 2 set PAs, 4 assistant directors, 1 DGA trainee, 1 unit manager, 6 production office personnel, 3 casting people, 4 writers assistants, 1 script supervisor, 2 editors, 2 editors assistants, 3 post production personnel, 1 facilities manager, 8 drivers, 2 location managers, 3 accountants, 4 caterers and a producer who?s not a writer. All 102 of us are now out of work. I have been in the motion picture business for 33 years and have survived three major strikes. None of which have been by any of the below the line unions. During the 1988 WGA strike many of my friends lost their homes, cars and even spouses. Many actors are publicly backing the writers, some have even said that they would find a way to help pay bills for the striking writers. When the networks run out of new shows and they air repeats the writers will be paid residuals. The lowest paid writer in television makes roughly twice the salary than the below the line crewmember makes. Everyone should be paid their fair share, but does it have to be at the expense of the other 90% of the crewmembers. Nobody ever recoups from a strike, lost wages are just that, lost. We all know that the strike will be resolved. Eventually both sides will return to the bargaining table and make a deal. The only uncertainty is how many of our houses, livelihoods, college educations and retirement funds will pay for it.? c.

If you have been laid off work due to the WGA strike or if you believe that it is critical for both sides in this issue to get back to the barginning table, without backing either the WGA or the AMPTP, log onto: http://getbackinthatroom.blogspot.com/

Here is a response to the questions re: 4:4:4 vs. 4:2:2 and the Genesis by Mike Kovacevich, Digital Systems Engineer/Technical Marketing at Panavision: ".......testing of 422 for HD broadcast, honestly I do not remember, but there was a lot of stuff done in the early to mid 90's mostly by CBS and the ATSC. The difference between 422 and 444 is not visible on TV and the history was with Genesis in the early years you could not record anything but 444 at several of the frame rates, and to help people from making mistakes we recommended that they shoot 444 for everything except Selectable 59.94 . But now, as of the last 6 months, the recorder can do either 422 or 444, so it is not a problem. The color space is not a problem either, but what you do get with 444 is the very best the camera is capable of producing. Also if one were to need the ability to pull a matte, 444 is the preferred format as it is the cleanest. In short with 444 you can always go back to the very best format, and off the back of the studio deck you have the ability to either take 444, or 422, but you are only broadcasting 422. Now in another statement about how post houses are editing, the majority are doing it in 422, very few bother doing it in 444. The next statement is, yes. Log does make a major improvement to the dynamic range and is very visible when viewed at home if there is a scene with some dynamics to be captured. And the last one almost everyone except a few who experimented with 880, but never shot anything, and also a couple of mistakes that I can remember everyone is SQ. But things may start to change on this one next month when the new Sony SRW 5800 will become available so people can play back 444 HQ and 444 at all Selectable frame rates. I really believe this will only be for specialty shots, like commercials, some features, and some special effects, as history has proved, 444 SQ looks very good, but if you want the very best it is now available." Mike has been our "go to guy" at Panavision whenever we had the occasional technical issue with The Genesis.

To further answer David's question, a response from the Digital Imaging Technician on "Samantha Who?": "The 4:4:4 we acquire on set is sampled at 4:2:2 by just about every house and our on set monitoring. The reason to record at 4:4:4 is the same as shooting 35 over 16mm. The 4:2:2 sample rate takes advantage of the deeper information envelope. Recording in the Panalog (or other log format) allows greater control of the gamma curve and knee. Like shooting film and transfering to tape the REC 709 should be sampling these downstream values. A rough analogy would be photographing a vista with a video camera directly or shooting the same vista off a post card originated on film taking advantage of the greater dynamic range and color space. The bottom line is that it looks better."

Finished last episode on "Samantha Who?" for ABC last Friday. We have 10 shows to do, but no more scripts. More episodic tv shows are shutting down every week for the same reason. WGA and AMPTP should be locked in a room and not allowed out until they have a deal.

We shoot 4:4:4-"panalog", converted to 4:2:2 in dailies 4:4:4 is recommended by Panavision, for further clarification check with the boys there, either Nolan Murdoch or Mike Kovacevich and thanks, much appreciate the comment

“Samantha Who?” has shut down production indefinitely due to the writers’ strike. We finished our 11th episode this last Friday. Everyone is hopefull that the labor dispute will be settled quickly so we can get back to work, the producers and the studio included. All the sets are to remain standing, most set dressing will remain in the sets, the grip and electrical equipment remains on stage and all the camera equipment is being kept in a lock-up on one of the stages, thank you Panavision. I will be able to go to the weekly tape to tape grading sessions during the “forced hiatus”, a process I always enjoy. The show, which is about 21 minutes in length, gets a healthy 4 to 5 hours of color timing. Generally it involves adding contrast and matching flesh tones scene to scene and shot to shot and utilizing the da vinci’s (as many as) 5 separate power windows to do “electronic gripwork”. Stills from dailies this last still is from a scene that took place in a darkened closet. Always a cunundrum......how dark is dark, it should look like the lights are out but we still need to see their faces. I invited two of the producers to the 20"CRT monitor to weigh in on the "darkness" for this scene and as I expected they asked for me to brighten it up a bit which is the result in this still

The producers actually took this notion off the table in earlier negotiations.