GeorgeSelinsky

For me personally, it's all a matter of the specific scene. Long scenes obviously should have more coverage because you need to keep audience interest. An average scene is about a minute and a half to two, you can get away with a master shot, two OTS's and a good medium shot too (as a matter of fact, you can usually get away with covering just the beginning and end of the scene with a master, maybe throw in a point in the middle somewhere too). I don't do a lot of camera moves (very few, actually), so I try to go for more coverage of a scene, esp. with various medium shots/two shots. Some I go over the shoulder more, some I go profile, etc. The way I usually do it is try to break down how I can cut things. I can say "Okay, this is the beginning so we'll start wide, then we'll cut in closer as things progress". That's a frequent strategy. Then I can break into an interesting medium or wide shot here or there to keep things more interesting, give some space. Then I can find a crucial moment in the scene where a nice tight CU would be interesting. What I found that I like to do sometimes is search around the room and find a position/place where I can't set up a tripod. I take the camera off the sticks and then squeeze myself in tightly, using things like my camera case and pillows to keep myself propped up, like a sniper. Then I just hold my breath and I try the shot. I found that a lot of interesting things can be done that way. Of course, sometimes you're f-ed when you inevitably will shift ever so slightly and the frame dips (btw, I often find that wide shots with camera jarring end up on the floor much sooner than closeups), but you can cut around it often. When I'm about to roll out, I often go handheld for a crazy shot, too. 1 out of 3 times I use something from those. I work much more filmschool style, being that I'm the camera operator/DP and director, but I find that while camera operation is a fulltime job that can interfere with directing, it's a very direct and hands on way of working. - G.

If you know what that edgecode is in advance of course. When it comes time to create the actual cut list from the time code, I will take each flat and check where the camera rolls begin, then use a formula to calculate the correct edge number for the timecode. It's more manual labor of course, but a few cents extra per foot for keycode adds up. - G.

I'm sure you're right John, but I can almost swear that I heard that 7298 was being discontinued about a year or two into 7279. I do remember that 5298 was available for a long time afterwards. Well, I guess I was wrong! - G.

Here is an example of my burn in time code, which I designed. It conveniently sits in the letterbox area. Left to right, the 01.17.03.03 means that the dailies were transferred on 1/17/03 (which is the tape number), and that this is transfer flat 3. The timecode is 00:00:47:29 (non drop frame), and the frame count is 01439. Each flat has its own number, and the timecode begins at the first frame of picture. There is a black punch at the head and tail of the film. - G.

I just use burn in timecode, which I burned in visually after I digitized all my video (and made sure I didn't drop any frames). I can verify my transfers this way too, if my sequence is consistent with the timecode numbers. If the split fields fall on, say, every 2/3 and 7/8, I know that the telecine was run uninterrupted throughout. Then, if a cut falls on a split field, I have to remember to alternate, +1 frame, -1 frame, so that I stay in sync. The way I probably will do it is match my negative, then get a corrected transfer done, and from that check my sound. What I don't understand is that there was a time in video matchback before keycode existed. Negative matchers managed, somehow, to produce cut lists. I know this because I've spoken to people who've gotten it done for their films (unfortunately I never found out who their cutter was). Now for some reason the cutters all seem to want key code or no job. Unfortunately, one lab person told me that keycode is a "waste of money" and "isn't always accurate". I thought that since he was in the business for 40 years he knew what he was talking about, and I did want to save money on the job, so I took that into account together with the fact that others have managed to get cut lists made w/o keycodes of any kind. Anyway, I used to process my own movie film (including color) so I'm sure with the proper practice I can handle hot splicing. It's just a question of "how to". Thanks Dom for your input, it was very helpful! - G.

Can someone spot me $200,000? I'll promise to pay it all back when I make it big :D - G.

Roger Corman wrote that he believes the norm for one of his shoots is 40 setups. Many of his films were shot on 10 day schedules. Try that for pressure. - G.

I don't think it's 2 years old. 7298 was discontinued more than 2 years ago, check Kodak's film chronology on their website (5298 was around for longer, but I think recently they also axed it). 7297 is JUNK imho, if you compare it to the EXR and Vision stocks. You really can't intercut it, and it's definitely more than 2 years old. The only thing worth the bother is the 7245. I absolutely LOVE that film and in 16mm I use it every chance I get. - G.

I've decided to take the bold step and match my 35mm negative myself. I don't have ten grand to spend on a negative matcher, furthermore the negative matchers I spoke with are pissed at me for not including keycode in my transfers and are talking about all these labor fees. There's really nothing so hard about this process in my opinion, so long as I keep a solid database. Just to be safe I intend to transfer my film to video before doing a print, adjusting my sound accordingly. I used to cement splice my own 16mm, but that was just reversal direct projection stuff. How do I make a proper negative cement splice on 35mm, and what equipment is best recommended for this (available for rent)? The biggest paranoia holding me back from doing my negative matching is not making a strong or clean enough cement splice, and having it come apart in the printing. Does anyone have any helpful advice that I can follow, or place I can learn? Also, are there standard optical layout sheets for all labs or does each lab follow its own rules? I know that some labs have specific fades/dissolves they do. Thanks for all of your advice and help in advance, - George.

Was it Eisenhower who said "Plans are useless, but planning is everything"? <_< - G.

The infinite dilemma with all video equipment. I still wonder why it is that people think it's okay to invest in video gear but when it comes to 16mm/35mm gear it's always "rent!". The only explanation I can think of is that they shoot much less film than tape. - G.

Might want to check out my movie processing website http://www.geocities.com/gselinsky , and share your experiences at our Yahoo group. - George.

What do I care about pin registration if I'm shooting live action? If I'm doing SFX that might be a consideration. But otherwise, the small amounts of image weave shouldn't be serious. A camera like a BNCR will probably tire a camera crew pretty fast, unless you keep it on a hydraulic crab/dolly which costs another five to seven grand. It's really a recipie for disaster on an independent film shoot where time is so prescious. With a beast like that it's very tempting to cut yourself short on ambitious shots simply because of the trouble it requires. The BNC wasn't made for independent filmmaking - it was made for union crews (incidentally, I wonder who had to move it all the time, the AC's or the grips?) and studio work. I would only use a camera like that if I had a more portable camera with me as well. - G.

WRONG. Great films come from great scripts, which are turned into a film by artists who have the focus, experience, maturity, and patience to pull it off. The money is really secondary, and money likes to go where good ideas live. - G.

Some people are receptive to advice, some are simply stubborn and arrogant, they believe no matter what they're right and that's that. It's not unusual for younger people to behave that way, I was like that myself sometimes. It's almost like me coming on here and saying "I want to shoot an action film for widespread theatrical release, with major talent attached. I used a video camera a few times so I think my chops are together enough. My biggest dilemma thusfar is this - is it better to shoot it on regular 8mm Plus X reversal, or shoot it on 35mm color print stock using a handcranked DeVry camera? That's the only thing I can afford right now. My uncle owns a nice car mounted search light projector so light is not a problem. Thanks!" Then when the expected replies come in, you start arguing. At that point people like me are faced with three options, 1) try to convince you to think more soberly, 2) give up and depending on how irritating you've been, give you a sharp reply, or 3) waste the time on telling you what to do, fully knowing this advice will be a waste of time because you probably won't get any further than the first step or so. Be happy that people are going through the trouble of addressing you, even if they get a bit upset in the process. Now really guys, don't waste our time here anymore trying to prove with words that you're right, you're not convincing us. Go out and SHOW US what you're made of and if you're a genious filmmaker at 16 reap the rewards. I still don't see, however, why you want to rush, unless you think it's gonna impress the chicks... - G.

All of us here as cinematographers and other people of the craft are hurt by bootleggers. In many countries bootlegging is a very serious problem, debilitating entire national film industries. I am considering the option of self distributing my film and want to know how to prevent bootlegging, should it ever happen to me (I guess in a way it's a flattery, but not something I'd care to be flattered by :angry: ) I'm frankly baffled how on Ebay I continually spot bootlegged DVD's for sale. For instance, the infamous Rolling Stones documentary "Cocks*cker Blues" can be found for sale (in all fairness it was never permitted legally to be released on video, but that's a separate subject), along with other things. How can people prevent this kind of bootlegging on Ebay or elsewhere online? Is there any way for a filmmaker to investigate who is doing the selling of these videos, and how to nab them - versus just getting Ebay to take them off? I would like to be prepared in case I should ever have to deal with this. Thanks for advice in advance as always... - G.

I don't quite agree with Phil's approach here. Reread my posts, I say it all there. Landon, you have to simply be more sober minded. Your ambition is there, but it's going to take patience to suceed. You are actually the one who is delimiting things with age here, saying that by 25 you want to have a feature in theaters, that possibly being the indirect result of parental pressure. You're trying to push this whole Doogie Howser scheme on yourself for no reason. Why not give a 14 year old a chance to drive? Why not get married at 17? It could work, right? But what's the point of racing the age limit, when the real goal should be to do well and succeed rather than to beat a record? If you set as your goal to simply succeed rather than "succeed by the time I'm XX years old" you will be much better off. It doesn't mean you should slack off, on the contrary you aught to be applying yourself as best as your abilities allow, in the right places. On one end, you are setting yourself up for failure by creating unrealistic goals, on the other hand you are not doing the work you need to be doing right now. I saw how you posted this entire digital intermediate scheme. When Dave, Dom, and others tried to point out your mistakes you started getting defensive. I see how you're answering other people's questions on this forum. It's really not your turn to be teaching now, it would make as much sense as if I started telling a seasoned DP here that Hawks suck for anamorphic photography when I didn't even try anamorphic myself. You're not using your time the best way - and it doesn't matter how old you are, only to say that the older you get, the less time you have to make mistakes and mismanage your life! I realise you may get defensive reading this, but I hope you don't. Nobody wants to put you down here I think, everyone is spending the time here to help you. You can always reject our advice, of course, but that might be something you will really regret later. - G.

If you came into my Orthodox church, you could observe the services as long as you wore the right attire and didn't participate in them (as in parttaking in communion, part of the sacraments). Is that discrimination against non-Orthodox? In my church, even I cannot walk into the altar via the altar doors (I can only enter through the east and west entrances), nor touch the chalice, nor walk in certain areas - that can only be done by an ordained deacon or priest. I also cannot walk into a meeting of the bishop's synod, because I am not a bishop. Are they discriminating between clergy and non clergy? If you were lying on the street dying our faith would require that we help you regardless if you were Orthodox Christian or not. If your family was needy and I was the only person who could help you, I wouldn't start asking about your religious beliefs either. That should say a lot right there. If you walk up to a masonic lodge and want to attend a meeting, and you are a non-mason, they will turn you away. Unlike an Orthodox church or most other places of worship, you won't even be allowed into the masonic temple without passing a test to see if you are a mason. Is that discrimination against non-masons? Better be careful how you answer that one, a lot of very prominent and important people in society are members of this secret order. There is nothing wrong with people of a certain confession gathering together for any noble reason ,as much as your family has a right to get together. If you have a problem with organized religion, it's your right to feel the way you do. But that doesn't give you license to brand those who have a similar bond as "discriminatory" and "exclusionary", just as it doesn't give you the right to insist on being able to walk in to my church and take the sacraments just like that, or walk around in the altar anywhere you want. I think that the contributions I make on this forum are a clear example of my will to help people regardless of their confession and/or nationality. Many of us evolve in a multi-national, global society and have access to people of different backgrounds and ideologies. I went to school with them, I worked and continue working with them, socializing with them, etc. Yet at the same time it's natural that we gravitate towards people who think and feel like we do. Otherwise, are you going to insist that Stephen Spielberg hires a few Neo-Nazi's as grips on "Schinder's List" in order to be "non-discriminatory"? :blink: - G.

Sorry, different rules apply for different industries, even in the arts. Ballet dancers have to be out there at an early age, it's too late for them to start when they're in their 20's. Same with musicians who want to attain a high level of professionalism. A lot of this has to do with the way your bone structure and reflexes develop. On the other hand opera singers can't really make it until they're in their late 30's, the voice is a different animal. The problem is that the creative world is different from most other jobs out there. There are very few film directors who "made it" at 25, that is a very big exception and frankly so what if they did? MOST of the world's greatest and most popular film directors started much later. Some people who start too early get burnt out early, too. If your father is going to pressure you to be famous by 25, he is setting you up for failure. One of my film teachers taught us a great thing, "You have to start thinking of your life not in terms of years, but in blocks of ten years." That is the reality of this business. If you don't like it and aren't willing to accept that, go into banking or real estate, you have bigger chances there. What will get you success sooner than later is if you are committed to taking the right steps at the right time, if you learn to walk before learning to run. If I sit down now and without knowing so much as a single piano scale try to play the music of Franz Lizt, it will take me longer to become a pianist than if I have the patience to do things the right way. Your father better be willing to accept these realities. This is not a predictable business with 9-5 hours, steady salary, and all these benefits like medical insurance. This is a "make it your own way" business, especially if you're a director/producer. You're in the same league as all entrepreneurs. It takes more faith to get there. Saying "I am going to be famous by X years" is the wrong way to go. The right way to go is "I will do whatever I need to become succesful, by applying myself the right way". Everyone wants to "parachute in", nobody wants to get the coffee, everyone wants to be in the director's chair right away. That's the way it is with every job. You think a bank teller wants to be counting money? Most of them would rather sit in the branch manager's chair, only if they were allowed to do that the branch would go flat pretty fast. There's a reason for everything, and you'll succeed faster if you catch onto the natural rhythm of life and being diligent rather than insisting that you're special and the laws of gravity won't apply to you. It's setting yourself up for a rude awakening. - G.

I think maybe Christopher didn't quite word things in the best way. There is nothing discriminatory when one group gathers together and supports each other. Is it an act of discrimination for African-American, women, or Christian filmmakers to have their own talent pools? I certainly don't think so. I've been making a film with Orthodox Christians - Greeks, Russians, Serbs, Romanians, Bulgarians, Armenians. It's never been done before, actually. We DO have non-Orthodox Christians working with us, from actors to the guys who develop and transfer my film. I've had people of Latino, Irish, Italian, Pakistani, Indian, Phillipino, German, Czech, Croatian, Israeli, and other ethnicities involved in my film - some believed in God, some didn't. Many of the people on this forum help us out, and they're not Orthodox Christian. At the same time I spend hours helping people here, and I know that in the overwhelming majority of cases they're not Orthodox Christian, or maybe even Christian at all. It doesn't bother me for one second. Film is such a collaborative medium that you're almost always going to have everyone in the community involved regardless of race, faith, or gender. I myself once worked on a student film with an all African-American cast as the DP. In America, one thing we have a right to do is freedom of assembly. I can ask all Russian editors, Finnish colorists, one eyed cinematographers from Jordan, soundmen who drink only Pilsner beer, etc. to gather and become friends. I have as much of a right to do this as I have to call a family gathering together, or to attend religious services together with a group of my persuasion. If a group of filmmakers wants to get together and talk about what they have in common, if they want to make a film about what they have in common, that is a good thing. That is in part what America is all about, each culture brings to the table something unique - and one way to do that is to allow an ethnic community to have its voice. - G.

Landon, be careful about people you meet out of the blue who want to do business with you. It sort of reminds me of the salesman on the street who pulls you into a store and says that "Just for you" he'll give you a huge discount. Stupid younger me once ended up paying $45 for a 120 to 220 v converter that was "on sale" from its price of $78.00, which I later discovered was available mail order for under $20. The salesman (er, swindler) made me think I was getting a good deal. You have to build relationships with people, get to know them, and they have to get to know you. It's a two way street. Be wary of someone like this man who is talking to you so seriously. As a matter of fact I'd even be a little scared to get into a car with someone like that until I've had a chance to check some credentials. If he's abroad, he may just want to use you to get into America. You SHOULD "take interest" in "small crew work". What do you think everyone else here did? No, it's not glamour getting coffee and tying up cables. But it's the one way you will get to actually see "how it's done" and learn by watching. As long as you keep yourself near the set (don't let them cram you into an office), you will get a good beneficial experience that will be of considerable help to you. You may not believe me now, but you will after you've gone through it. If you show people that you can order lunch right and properly wind up an AC cord, they will start slowly trusting you with other tasks, and you'll get to try your hand at pulling focus, playing with lights, etc. I'm certainly NOT going to let someone off the street who has nothing but enthusiasm get behind my Arri. Even if the camera is locked down, what if some actor's head pops out of frame by accident, or some other gaffe happens and I need to know "did it get into the shot?". A responsible operator will know about that right away, I won't even have to ask him or her. An inexperienced person most likely won't be thinking in that direction yet. I'm even less likely to send off someone with zero directing experience to shoot second unit work. What makes you think some producer would even halfway seriously consider entrusting you to direct - especially when there are scores of people older than you who have more experience and are waiting for a chance? DO go out there and PA, and don't you dare think it's beneath you! Do go out there and get your hands on a camera, and HAVE FUN. This IS THE TIME to have fun! You have no idea what I'd give to be ten years younger again and get to make more short films. You and your friends are young, full of energy, and more willing to do crazy stuff and take chances. The best way to take advantage of that to the max is by making short films any way you can. The way to kill that is to try to make a feature film right now, or in the next two years even. Do some fun stuff, then post it on the internet. See if you can build a local fan base. That will do a lot to help you on your way, believe me. - G.

If that's the case, I imagine how many people want a job in film :D Actually, what I've discovered is that a LOT of people seem to do well working in real estate for some reason. It's really a very big job down there, it seems almost every third person is in real estate. - G.

Thanks for the responses to everyone. I was just in SF a few days ago actually (yes, it started raining but just before that the weather was absolutely fantastic - a far cry from a New York winter). I wanted to even drop by Monaco labs and ask them some honest questions about how work was coming in SF, but I didn't have time. So it does seem that work in SF is on the dead side. I was under the impression that after NY and LA, SF was pretty active. But if they only have one lab there, and only one rental house, that's not a good sign. Being relatively close to LA probably makes it tough, everyone migrates down there. Francis Ford Coppola has an operation near SF though, so that's interesting. But that's the only major operation I've heard of there. I was wondering if soundstage rental was cheaper in SF than in NY or LA, but thusfar no results. Real estate in New York is pretty costly, actually VERY costly, especially if we're talking Manhattan. You can't even think of a decently located studio apartment in Manhattan for under $1400/month, in Frisco you can still find such a place for under $1000, and it can be in a nicer, quieter neighborhood. - G.

Alright, I think the bottom line is this. It seems, Landon, you just wanna go make that feature no matter what people tell you here. If you're looking for encouragement here, we've been realistic and honest. We're not just going to say "Go kid! Yes, you can do it!". I don't think that would be fair to you. I remember on the usenet one guy got 10,000 feet of 35mm film, an Eyemo, and wrote a script. He wanted people to encourage him - even though sober people like me told him it was a bad idea. So he went ahead and shot his feature on a 1:1 ratio. The guy never got to understanding whether his film worked out or not though, because the 10,000 feet of 35mm film he got was all fogged - he had decided to get it all processed in one day and never even tested a single roll. Weeks of agony and work went down the tubes. This is typical of the kind of mistakes people make when all they want to do is arrogantly proceed regardless of how rational or irrational their plan is. They loose scope of the bigger picture, just so they can say they "did it". I'll never know what else that guy did wrong on his film, but I can imagine the fogged film probably saved him of the embarrasment of something completely unreleasable. All the advice that I gave him and others went down the drain. We might as well have been typing the letter A on our keyboard for 20 minutes. - G.

All the personal stuff aside here... What it comes down to with Landon's question here really, is some serious soul searching. You have to find what you're good at, what you are not so good at, what you can get good at, and what you will have a hard time getting good at. It will take some honest analysis and it will take a lot of time. You need to experiment and you, thank God, have a good amount of time now to do it. A feature film is nothing you WANT to get involved in at 16 years old or even at 19 years old. Believe me, a third of the way into it you'll be violently shaking your head in agreement to this. The glam you envision won't be there, nor will the creative satisfaction. I doubt you'll even finish it. Think this way, an average film has 1000 cuts, which can be broken into about 500 shots, that's not including multiple takes (I have well over 3000 shots logged for my feature). That's just a starting thought of the enormity of the work you have to do, you have to get a few thousand shots in the can. Paper (and computer memory) is very inexpensive, write and plan all you want. It's good mental exercise, just be sure you're focusing on things like story and storyboarding, not "What's the day rate for a Panavision Millenium and anamorphic glass?". Test yourself. If you can sit down and type up 100 pages of properly formatted script (yes, proper formatting should be one of the first things you learn), that's a good test of your self discipline. Then comes the next part, giving it for someone else to read and responding to their comments. How do you respond? Do you get hurt and defensive, or are you receptive? Another good test... You should be free to dream, but realize that you have to be realistic about what you want to accomplish and when. If you're going to set up grandiose expecations now, you are setting yourself up for failure. Finally, realize one thing. Filmmaking is about having SOMETHING TO SAY. What do you want to talk about to this world? What issues interest you? What can you entertain me with? It's not in the big budgets and the 35mm, it's not in the name actors and the special effects - although all of these things play a role in a film's image and profitability, what really matters is what its all about. Why all these characters are together, what is their conflict, their issues, who can we feel sorry for, who can we root for, who can we laugh with, or at, who can we channel our hatred towards? It will take you time to figure out just exactly what is it that you have to say. That is really going to be the key to your motivation, and to the motivation of the people who will support you and believe in you and your work. That's what the camera and all the lights and people milling around a set are there for, and if you can get the right people to believe in what you have to say, these things will all come to you. - G.