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Grant Perkins

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    Los Angeles
  1. Well, I am still putting together my professional (ha!) editing suite; which is a project in of itself. Specwise, I'm told (translation: researched from countless youtube bloggers) that it competes with any pro setup. I previously worked with Premier Pro and got pretty comfortable with working on DSLR 1080p footage and was able to put together a couple student shorts on the Macs in the lab. I was hoping(dreaming, wishing) to shoot on S16mm because I absolutely hate the image quality of the shorts that are shot on video However, shooting on the 70D, I could just take out my card, stick in the computer, and then I edit away. Is there no painless way to shoot on film?
  2. Thank you for your reply. I put it though Google Translate just so I'd know what you're talking about. The response was what I guessed it would say: "Hire a professional." :wacko:
  3. Man oh man you couldn't be more correct -- definately worthy of another thread! I wasted my time and money at film school not going with the attitude that I was basically buying a "gym membership" at a movie studio. What's worse, is that it was overseas, so I didn't have the connections with the school to get a gig out of there and my classmates were scattered worldwide so I couldn't hook up with them to put together out first projects, networking, etc.
  4. For all the editors who are hiding out in this forum :ph34r: ....I was wondering if film is actually cheaper to once you got to post than video. Specifically, can you outline the difference in workflow between a Super16mm workflow vs shooting in 4k(or even 2k) and finishing on the accepted digital projection format(or 35mm)? My guess is that film would come out a bit cheaper and easier to manage for the beginner. Quite counter-intuitive I know, but digitial non-linear editing appears to be a black hole which swallows all of your budget.$10K! I'm betting that a 10:1 shooting ratio on Super16, comes out cheaper than a shoot-it-'til-people-threaten-to-leave:1 shooting ratio on video. Can anyone comment on this?
  5. $98 an hour isn't too shabby! That's almost the day rate for actors! They'll easily be the highest paid people on most productions: videos, shorts, indies.
  6. So IATSE will allow you accept any wage for a production to keep it "union"?
  7. Any members of the Southern California guild know what the minimum rate is for Low Budget Theatrical for cinematographer or camera operator is? Does this rate apply to "short films" as well?
  8. Ha! Well my question was to them, "What the @#$%&! were you thinking?!" (Actually they weren't bad they just didn't look great -- and in L.A. looks are everything. They had "nice personalities". :rolleyes: )
  9. Right, and if a camera is damaged or lights or a generator, by anyone on the set, a claim is made against the producer's production insurance and (hopefully) the production continues. Producers carry insurance for such an event. But what about when the film image is damaged? Whether it came out blurry or someone changed a reel incorrectly and exposed a reel(as happened on one of my student shoots!)? Short films, indie films don't have the luxury of eating a days production, so I'm sure that why I saw so many mistakes in the final products -- it was either that or nothing. But how does this play out with bigger ticket things like commercials and music videos that are typically shot in one day? If the next day the producer sees something wrong with the footage, how is that mitigaged? (With the particular scenario you described, was that on film or video? if film, would it even be possible to see that imperfection on the video monitor?) Is it customary that at a cinematograher has insurance that covers such an event ? Or is this is a risk on any size or budget production that there is no such insurance for?
  10. That's nothing, we blow way more than 100 grand on film school alone! :unsure: You'd struggle putting a decent 3 minute music video together for 10 grand, and that's to launch a single. Imagine trying to launch a career with a 15 minute narrative, and only 10 grand to pay for it? I guess poor is relative. :rolleyes:
  11. This were "film festival" films, so you can extrapolate what the constraints may hay been that forced the producer to use whatever was shot to deliver a product. But besides firing people, can the producer recoop a days filming costs from the Cinematographers, I dunno, E & O insurance? Say if....that DP insisted on being paid as a company? And.... he supplied his own camera crew as part of that deal?
  12. This was at a film festival. So there may have been a couple of student films slipped in but I don't think so -- based on the age of crew & cast and the apparant budgets. (I should note that this problem was not evident on the foreign films! :o )
  13. Wow... I just sat through slew of films that had anywhere from 10 - 75(!) percent of the film that was out of focus :blink:. A nightmare scenario for a low-budget producer (or any, I might add) would be to see that the dalies are unusable because they were just blurry. It didn't stop those intrepid producers (God bless 'em!) but the question now arises: What aspect, if any, of insurance would cover such a gaff(er)? E & O? General Liability? The completion bond? Or does the production just "eat it" and move on? Anyone have any experience with dealing with such an issue?
  14. Thank you for that Ed, you made this student do a bit of research on production credits. I've found a link which does list state production incentives here:http://www.filmproductioncapital.com/taxincentive.html After perusing that link, I followed up with the good people in New Mexico: http://nmfilm.com/Summary_1.aspx I had a wonderful conversation with their Incentive Controller, to whom I detailed my no-budget production. She gave me examples of the incentives and detailed some of the expenses that would be eligible, including 25% for post-production, She assured me that there was "no minimum" for qualified productions, even giving me the example that if I spent $100 on a hard drive, I could be eligible to get $25 of that back if I only shot even for just a day. It was quite a sales pitch! Ed, did you have some negative experience with New Mexico or some other state that I should be aware of? Because the information you've provided does not at all seem correct.
  15. LLCs! Thank you for that info Adrian, I did a search and found out that California has the HIGHEST annual LLC fee in the country -- YIKES! For a poor 'lil student like me, that no longer seems like a practical option. But this was an interesting bit of information: https://www.llcuniversity.com/llc-annual-fees-by-state/ What is your opinion on simply forming the LLC in other states? Would this not make also make me eligible for that state's production incentives as a resident(company)?
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