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Gareth Munden

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About Gareth Munden

  • Birthday 08/12/1972

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  • Occupation
  • Location
    London UK
  • Specialties
    London based Director of Photography

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  1. I was lucky enough to chat with Harris at Camerimage a few years ago. A real gent and one of the greatest cameramen in the world.
  2. Try these http://www.youtube.com/watch?v=EJeXQniTKto&feature=youtube_gdata_player Both very cool. Gareth Munden London Uk
  3. It ain't the trainers that win the race it's the legs. If that makes any sense.
  4. Hi I was lucky enough to see Restless at the London Film Festival. I loved the film, guess it may not be to everybody's taste. Harris Savides work is great, some lovely stuff. I wonder if any of you had seen an interview with Savides about his work on the film? Or maybe know some details about it. Gareth Munden DOP London.
  5. Mate. Every job is important. I did mention sparks as well. But if we are staying on the subject, why does all the orchestra from the score not get named? Are you going to compare a Violinist of 20 years to a Junior Data Wrangler? Freya was right I think, they have no idea what the VFX people all do, that's why they get away with murder on the fee!!!!
  6. Never said that did I??? But SO many of the shooting crew never get a credit. Bust their arses, in a chair?
  7. Hello all In my Christmas Turkey filled stupor I watched a lot of big budget movies on TV (most of 'em pretty good I guess) One I watched was Tim Burton's Charlie and the chocolate factory. Back in my day as a stills photographer I worked on this film, enjoyed it very much, made some great friends. Some of which I work with now in my role as a DOP, Sparks and grips etc. Now there were many working on this film (including the ones I work with now) in all sorts of roles, big and small. All in their way important to the finished film. So why is it that so many of them are NOT included in the closing credits? And can someone tell me why so many people are mentioned from VFX? Every Mac monkey gets a nod. WHY? What about all the runners, the hair and make-up on dailies, Sparks and trainees. The guys down the lab, the prep guys at the rental house, they all make the film. Why do we need to know the name of every Data wrangler and not every spark? It's not just Charlie that's guilty of this, just that I was there and worked with so many that are not mentioned. Am I the only one that wonder why VFX guys get so much exposure or have I just eaten to many mince pies?
  8. A Test on a promo!!!! Never..... Artyom I'm afraid the Promo world is full of jokers. There are some good director out there true, but few. If someone asks you to shoot in a way you don't want, and you tell them so. They won't remember what you said when they watch the s**t rushes. Maybe just maybe walk away from the job. Gareth Munden London
  9. Hi I just watched the trailer for Restless (on my Mac book pro mind http://www.imdb.com/video/imdb/vi3440679193/) As always very simple and beautiful images from Savides and Van Sant. Anyone have any idea what the tech specs are? There is some very nice hallation from the lenses in the shots be the window, very nice indeed. Gareth Munden London.
  10. Well don't write what you don't mean. I was opening a discussion for fellow DOPs on copyright that's all. Nuff said. Gareth Munden London.
  11. I've watched this post with interest the last few days, going to give my option for what it's worth. First a bit about myself. I'm kinda new to being a professional Director of Photography, I have a background in advertising stills photography, shooting for pretty much all the biggest ad agencies in Europe and the USA. So I know about "Sharks and Egos" and know what I'm talking about with the creative process. First I always ask for a grading clause and almost always get it (my clause is not a strong as the one posted, I mean I'm not shooting for my Mum!!!!) It's part of a process and trust. I talk with the director, we listen. I take stills of each set-up, graded it in Lightroom, send it to the director, discuss it. Sometimes he/she tells me why they are not sure (remember we are the directors eyes, but they are our second pair of eyes too.). It tends to work. I've read some pretty strong opinions here from directors. You should get to a place where what the DOP wants is what you want. You need to learn to trust. My experience of creativity tells me it takes many eyes to make a single vision. Maybe you should drop your egos for five minutes, learn to use the people round you, get the best from them, trust them or fire them. Simple as. You as the director will benefit from this more then anyone else. It's your film. So far I've been very lucky with the directors and producers I've worked with, yeah I have to fight a bit, but people soon understand I'm fighting for the film as a whole, not for my ego. But those fights are few and and far between. Funny the times when the door has been shut to me with grading and DI are few, but always have the same issue, that is poor performances and there is only ONE person to blame for that and no amount of fancy grading is going to fix that. That's the way I see it and so far I've enjoyed some great collaboration with some director I respect and trust and in turn seem to trust me. Gareth Munden London.
  12. Hi Not sure what you mean by "point the camera and pull the trigger" there is a bit more to what I do then that. When you I do stills the client (and I've shot for some big ones) put up the money. The ad agency comes up with the idea and layouts and comes to oversee the shoot. I follow the layout and direction from the Art director (as in ad agency guy) and still I own the copy right. I'm not saying it should be the same in film. I just wonder why it is so different and where the line is drawn. It seem the law is not there. I've had problems with copyright and stills and I always win, coz it's there in the law in black and White. Gareth Munden London.
  13. Thanks for your replies. The is do we have rights? Are we a co-author ? I know fighting in the courts is a waste of time mostly, but no we have anything to fight for? Not sure I wanna spend weeks reading a EU handbook!!! Gareth Munden London
  14. Hi I was wondering what the Copyright law is regarding Cinematography in the EU. How do we stand? Is a contract worth the paper it's written on? What if there is no contract or waiver? Our rights to be know as a co-author etc etc. Just interested to know the facts. Know what I'm signing and where I stand. I come from a background in still photography and find the cinematographer has on the whole very little respect in this area (I must say I've been pretty lucky so far) Thanks Gareth Munden London.
  15. Phil Hi, how you doing? I'll look into that. GM
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