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Remsy Atassi

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  1. Our NPR body just went down so Im looking for a replacement. Send me your offers if you have one sitting around - I really just need the body but if we need to grab a small package thats cool too.
  2. Thanks very much for your thorough response. In your opinion would it be too risky to go in without an HD monitor? I don't exactly have room in my budget but I could try other resources if you think there's a high probability of problems.
  3. Hi everyone, Sorry, I know this has been done to death but I'm heading into unfamiliar territory and would love some feedback. Next week I'm shooting on my EX3 with a Letus Extreme. Couldn't rent the Relay so I'm stuck with the additional glass. My lenses will be a Nikon set: 35mm, 50mm, 85mm, pretty standard. Shoot is for a web spot, 1 daytime apartment interior and 1 evening restaurant interior. Lighting as needed but trying to keep it simple, I'll have access to just an Arri 3 piece soft 1k and 2 650s. There will be some dolly work. For those with experience on a rig similar to this, what kinds of potential problems should I be aware of? I will have the kit over the weekend and the spot isn't until Monday, but I would love to be able to do some targeted tests. How bad is the light loss? Any other technical issues or suggestions? Thanks in advance, if you need clarification about any details please feel free to ask. -Remsy
  4. I think the whole situation with Phoenix is pretty disturbing. At this point, even if it's a joke it is still as disturbing simply because of the level he has taken his behavior. Roger Ebert sums it up pretty well I think. It's a sad situation.
  5. Well... daylight stock is balanced for daylight, so you would want to use it if you're shooting outside unless you gel the lens. The opposite goes for tungsten stock. If your school won't buy daylight then they will probably instruct you on how to gel the lens to correct for daylight color temperature.
  6. Remsy Atassi


    Ken, The EX3 shoots in the XDCAM EX long GOP codec at 35Mbps with a 4:2:0 color output. This is a somewhat larger codec than HDV, but not still the same kind of resolution you would get from broadcast HD cameras. Despite this, the EX3 is a great looking cam, it's efficiency and picture quality IMO far outstrips something like the HVX200 even with it's greater color range on paper. Additionally, there is a product called the NanoFlash manufactured by Convergent Designs (check it out here) which records from the HD-SDI output on the EX3 and allows for much better quality recording (something like 160Mbps at 4:2:2.) This is a great unit for those shoots that require higher quality or broadcast output - it's a bit pricy but very affordable when you consider that a competing picture in this range requires a much more expensive camera. Unless you guys require specific broadcast specs and aren't willing to go with the NanoFlash, it's hard to go wrong with the EX3. Hope this isn't too much info - good luck with your decision. -Remsy
  7. While I agree with a lot of points in this discussion regarding filmmaking in general, I think that some people are caught up in the emotions of their particular discipline. Soderbergh sometimes hits, sometimes misses, but he is definitely an innovator - constantly experimenting and pushing the medium. I thought The Girlfriend Experience was a terrific film, very unique and compelling. I also thought it was one of the best looking RED features I've seen - it doesn't try to emulate film but instead breaks into a new direction. While positions such as cinematographer and camera operator should not and will not be replaced, some filmmakers work in esoteric ways. If they can make handling multiple jobs work for them, I think it shortsighted to assume that they are being egotistical - they've simply found a shooting style that works for them. As for the question of why he may operate the camera but not, say, pull focus, I again think attributing this to ego is missing the picture. The 1st AC is a very critical job and when it is poorly done can ruin a film, but focus pulling rarely determines framing. Soderbergh is likely after a certain level of intimacy that, again, he finds works for his process. Though in the case of something like The Girlfriend Experience, budgetary considerations were undoubtedly a large contributing factor.
  8. I'm in Chicago and not in the ASC, but I did check out some of your work and it's pretty slick. Nice! -Remsy
  9. Those photos from The Dark Knight may not be the best examples because they are from the IMAX passages of the film, so they are shallower by necessity. I find the constant use of shallow DOF and long lenses to be pretty distracting but there is an obvious element of personal preference. As mentioned by someone already, the limitation of DOF in 1/3 inch cameras has resulted in overuse with the new possibilities of DSLRs. In time I'm sure it will wear off.
  10. Check this out. I have a producer who insists this was done with some kind of a plugin or using stills. To me it just looks overcranking on a steadicam with everyone in the room holding a position. There are some weird time effects, such as the nurses hair, but even that seems like something easily produced by hair and makeup. Ultimately this producer is looking to write a similar ad and is hoping to sell it, so it would be great if someone with more experience on this stuff could clear it up. Thanks in advance, Remsy
  11. I've owned an EX3 for a year now and have had flawless performance from it. Obviously it's a prosumer camcorder and needs to be babied to a certain extent, but it's handled everything(commercial and narrative) I've ever thrown at it, and I really like to get close to the action. Before I bought the EX3, I called RED about the Scarlet release and there were secretive and unhelpful. Rather than wait, I decided to purchase the EX3 and start building my business, and it was absolutely the right decision. Is it perfect? No. But for under 10K I seriously press you to find something better. And it's paid itself off twice already. -Remsy Atassi
  12. For those wondering, I've had good results using the BBC film settings. The video settings they offer does not really give a nice picture to me, it looks a bit washed out. But the film settings are quite nice with a great amount of headroom and latitude for extensive post work. Very unsaturated though, so if you want something a bit 'sweeter' in camera I would go with something a bit thicker. -Remsy
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