Guy Meachin

How do most DP's start off in the industry? Is it as camera assistant? I know alot of them start off in theatre but I've been doing quite a bit of work as camera assistant recently on some short films- is that a good start? I don't have any other background in theatre or anything like that so I'm starting from the bottom really, though I am at uni. I'm managing to get work and study at the same time which is good I suppose. Any advice? Pretty general question I know. Should I keep doing the Camera assitant thing or try from a different direction to become a DP? Cheers! :ph34r:

Personally - I'd highly recommend any Focal Press books you can get your hands on re cinematography. Theory and Practice is a superb book. It really inspired me. One other thing I'd say - with my pretty limited experience - is, as David said try to get as much work on set as possible even if it is for free, though never work for anything less than expenses! Also work with as many DP's as possible, I've worked with a few now and they were once again a huge inspiration to me! Ask them questions - though choose an apropriate time - and look keen! I was always told never to sit down on set because it looks bad and the time you take standing up you could have been somewhere else quicker. After the shoot sit down with them and ask them questions, listen to thier philiosphies on thier work . Most DP's light differently, ask them why they light the way they do etc. If they love their job which most do they will be happy to talk for hours. I'd reccomend reading alot first though so you can hold together a resonable conversation, they'll respect you for that also. Also, if you have a wrap party or a drink after the shoot, sit down with and chat with as many people as poss, i.e. gaffer, camera op, production manager and producer, these could be potentially good contacts, Exchange numbers, a shoot is a great opertunity to find future work, don't waste it! Do's and don'ts - The biggest no no I can think of is never cross a DP's lights during a take. You shouldn't be doing anything during a take anyway but it's best just to keep away from the lights I find. One thing that amazed me about cinematography is the range of knowledge you must learn. You could be put off by it but instead think of it as a challenge. Cinematography is such a fascinating subject it's a pleasure to attempt to learn it. One thing as most people will tell you is that you never, ever stop learning, no shoot is the same. Also find a camera and practice in your spare time with lights, composition, exposure etc And remember - all experience is good experience! Guy P.s. Hope this helps, I may have got a bit carried away! P.p.s Your post would probably be better suited to the First time Filmmakers forum

What's the best way to light someone with black skin? Any tips? I wuz shooting for an film commisioned by the art council today and the actor is black. I had a few problems with picking out his facial features, though black skin looks alot nicer on camera than white skin!

Painting with Light is still a very highly respected book despite it's age! It seems to me the only things that have changed since is the technology. All the principles of lighting are the same today as they were then. Does anyone know if there is and updated version planned?

If you're thinking of using bluescreen with a still image, it might look like what it is, a still image - normally it's pretty easy to tell! You could take the picture into after effects and apply some dancing dissolve to it. This would give it a slight feeling of movement but it would prob still look like a still image. Hope that makes sense! It would also make the shot a little grainy. Just an idea. Best shooting for real in my opinion - if poss

Similar to this, would it not be possible to create a similar effect with rear projection? I am looking at experimenting with RP for some interiors of a picture car, I don't have access to proper mounts so I thought I'd try this. Any tips?

Is there an equivelent of the RM-P9 for the XL1S?

I think JFK must have only been released in the US. No sign of it here on Special Edition! How annoying! Thanks for the opinions on Dekalog!

Does anyone know why JFK hasn't been released on special edition? Is it likely to be released soon? Also has anyone seen Kieslowski's Dekalog? Is it worth buying? Sounds very, very good!

Why did they choose 1/32 - seems like a lot to me? Does the trick though!

Does anyone know of any good sites I can learn about the HD format and cameras?

Yeah, i was in a mad rush! Doesn't matter now

Got a problem with my XL1S communicating with G5. Basically when I choose print to video the signal isn't coming through to the camera. When I try to capture it works fine. Anyone got any ideas on how to solve this anoying problem? :(

I imported the mp3 into Toast and exported it as an aif file. Works fine now in FCP. :)

I've been using the 14x XL lens I borrowed from a friend the other day. I have come across the back focus ring and not intirely sure what to do with it or how to set it. If anyone can give me answer to my problem it would be much appreciated! Guy

Thanks Phil - you are an invaluable source of info! God knows why it's stuttering. The mp3 is only 128kbps from itunes, maybe that's why. Not to worry!

Is it possible to use Mp3's in FCP? I've tried importing them and in playback they stutter. Are Mp3's not of sufficient quality to use for editing?

Hi, It may sound like a fairly basic question, but... can someone explain to me how I superimpose in FCP 4 HD using the purple superimpose icon? Is this the same as just lowering the opacity with the line on the clip in the timeline or does the proper superimpose tool do a better job? I've looked at a few books on FCP but they all sugest very long winded solutions. I'd be very grateful for a concise explaination Thanks :unsure:

Hi Phil Funny you should mention the JVC Dual Deck. I've used a freinds over the summer and it would play the Mini DV Cam tape without severe problems with the playback, hence why I thought it might not work on the XL1s. Also, where do you buy your Mini DV Cam tapes from? How much each? B)

Can DVCam tapes of the same size as MiniDV be used in the XL1S? Is there much difference in quality or is there generally, just less dropout? :huh:

Personally I've been using the XL1S for 2 1/2 years and I love it. Sure it's front heavy but the MA200 sholder pack balances it out nicely. Those PD150 are dirt in my opinion. Was using one the other day and they're just too light and too small. I've always liked the XL1 design. It looks like a fun camera, rather than the dull grey or black normally associated with prosumer cameras. Yes, I'm the first to admit I'm biased.

Could someone explain what Bleach-Bypassing is please? Also, how does de-interlacing - in FCP- improve slow-motion on DV (supposedly)

I understand that recording color bars at the beginning of a dv tape is nessacery as a reference for the colors when in post but I am still confused as to get the most out of them. If I was capturing some footage into FCP how would I take advantage of having recorded them in the first place? Is this the purpose of a having the vectorscope and waveform monitors? <_<

Does anyone know any good sites for lighting in documentary?

What is the best book to learn the concepts of lighting for cinema? I believe 'Painting With Light' is very good and though it is very old the concepts still apply, but is there an upto date version with regards to modern equipment? Thanks