Jordan Buck

Would love a price on the 435 and whats included in the package. Thanks, J

I think unfortunately not everyone is in a position to turn down jobs with directors whose style they aren't into. I am getting to a point where I can be slightly selective over my work, but if its a good gig, paying my full rate the director for me is into whatever they are into and I will do my utmost to realize their vision in a way that I feel is professional and as fitting as I can get to what I believe it should be. I think a level of trust has to come into it as well, when your working at a certain level most directors should know what they are talking about to a degree (should being the key word here, definitely not always the case) and I think part of our job is finding a way to constructively and un-offensively suggest ideas and to start a collaborative discussion where your ideas are taken seriously and seen as contribution, not opposition. Its a side of the job that is very much overlooked in my opinion - the relationships you form with everyone around you play a huge role in whether the final piece is something you are happy with. I think something here to take into account is we are not talking solely features or narrative work - I work predominately in commercials currently.

Procam are great for this sort of stuff - as they own Take 2 now so if you want decent lenses etc. they can cross hire them easily.

The ability to suggest things in the right way and be diplomatic about your ideas is paramount. Your relationships with your directors is one of the most important things you can nurture. My best work comes from the directors I have a human connection with, and where we share a mutual trust to where if I think they are wrong I can tell them, but if they take my opinion on board but still feel they are right, I will trust them and go with it. If I am working with a new director if I find myself not agreeing with how they do things, I will find a way to suggest my alternate ideas in a way that doesn't undermine them or patronize, if they choose to not take on my suggestions, I will trust that they have something in their head that I cannot see and I do what I can to realise what they want. I mean it doesn't always workout, sometimes you do see or know something that a director cant see but that is the nature of the beast.

iDalies is now Kodak, so you have to go directly to them, the other main one is Cinelab, I have had mixed results with cinelab and from what I hear they have two spirit scanners and one is in better condition than another so I think it's a 50 50 chance thing. Mixed results being - one clip being bright blue and then being told it was a filter issue on my side, daylight stock, and only straight NDs and 85's on set and my loader was meticulous in his notes so turned out to be a bad scan, also previous scan had a lot of pink through the log, but overall, issues resolved and footage now looks fine - Neg has always been fine. Yet to use Kodak direct but will be putting 40 rolls through them in the next two weeks so can update then. Hope that helps

I realised I never really venture over here so thought I would contribute...