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Brian Dzyak

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Everything posted by Brian Dzyak

  1. The equipment you need is driven by what you're doing. Any basic "headshot" (for an interview, for instance) can be lit with a 650K (with Chimera), a 150 or 300 on a C-stand (don't forget the sandbag!) for a backlight, plus at least one more unit to light the background element(s). You can get away with 2 650s and 2 300s for simple situations. The smaller the room though, the more flagging you'll have to do to control the light, which means a small flag kit, extra C-stands, extra sand, plus a few stingers (extension cords), cube taps, and a dimmer or two. Again, depending upon the situation, most of the time you'll be able to light close-ups of your talent with just a couple of fairly modest units. The wider the shot becomes though, the more units and/or firepower you'll need, if nothing else than to just get a base level of illumination up to exposure level. Then of course you're dealing with power issues. Relatively recently, I had to light an 8 person "panel" discussion for four cameras with one on a dolly. I managed to get away with a bank of key lights using 2 1K Moles and 2 650k Arris all with Chimeras. For backlight, I hung 4 Arri 300k's off a backdrop stand. The "moody" background elements were lit with an assortment of 650s and 300s. I was shooting WFO but it was acceptable and more importantly, it looked good. The client was happy. So the basic kit doesn't have to be huge, but be prepared to subrent extras when necessary. Nothing beats scouting and figuring it all beforehand. Good luck! Brian Dzyak Videographer/Writer IATSE Local 600 Encino, CA www.whatireallywanttodo.com
  2. The site has been updated with a new sample chapter for those who think they wish to be a DGA Trainee. Remember to enter your contact information so we can contact you when the book is available! www.whatireallywanttodo.com
  3. www.whatireallywanttodo.com In response to countless phone calls and emails I've received over the years from new filmmakers wanting to know how they too can get into the industry, I began writing What I Really Want to Do, on set in Hollywood to answer all the questions they didn't even know to ask. The book is nearing completion and an active search for a publisher is on! In the meantime, please visit the official What I Really Want to Do website for progress updates, sample chapters, and other useful information for the aspiring filmmaker. Take a moment to put your name on the "I Want this Book!" list so we can contact you when it is available. If you know anyone who is interested in a career in the film industry, please pass this on.
  4. The latest word I have from post is that there is some kind of inherent problem digitizing 29.97P material to AVID. They told me that they have the same problem with HDV as well for some reason. Reps from AVID were in to talk with them about it and nobody has an answer for why it's happening.
  5. Using the F900, I generally shoot at 59.94I with no problems whatsoever. However, I just finished shooting for a week at 29.97P and apparently the editors are going crazy with timecode breaks all of the sudden. Another cameraman on a different project (for the same company) is also shooting at 29.97P and is having the same "complaints" from post. They are using AVID. Any ideas? And no, we are not "lazy" because we don't do a video return everytime we wish to record. We are shooting behind the scenes footage so immediacy is crucial, unlike a film-style environment. As an aside, I was curious about the gentleman who blacked his tapes prior to using them in his cameras. It is my understanding that a camera...any camera...records in "assembly" mode, not "insert" mode. So laying down control track (and presumably timecode) should be a tremendous waste of time as the record process would wipe out the control track like a bulldozer. If things haven't changed, then that isn't an option to solve the problem either. Thanks! Brian Dzyak www.dzyak.com
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