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Michael LaVoie

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Michael LaVoie last won the day on November 11 2018

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About Michael LaVoie

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    Cinematographer
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    New York

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  1. You have to use the color tools to get it to look right. You open the waveform and adjust the highlights mids and blacks where you want them and then from there you can start to tweak the color. I usually throw the finishing LUT in an adjustment layer. above it so I can toggle it on and off and know how it'll look finished as I set my exposure. But it's important to get the exposure right with film convert before moving on in the process
  2. Personally, I love Film Convert. If you have a good calibrated monitor and you audition different stocks, you will no doubt see the difference between the various Fuji and Kodak stocks and you can see what is appropriate based on the look you're after. It's a matter of taste and after you try it out and get used to it and cross check with your waveform, you will start to develop an eye and see the differences a bit more. But get a decent monitor or you won't have a good benchmark. What's important is getting the basic signal correction right on that tool so you have a starting point when you want to add finishing LUT's I usually combine film convert with a Vision Color Lut at a low opacity and that combo is a pretty nice look.
  3. There's a lot you can do with practical effects as well on a tight budget. I'd say this video is even more beautiful and it's simpler.
  4. "Before the show" is key. It's usually too late to ask for ideas on the day. There's no time. You should have a plan before arriving. Often the best music videos are ones that have literally nothing to do with the song. And these days you can do so much with VFX later on that you can shoot simple stuff and make it great if you plan ahead.
  5. Last fall I went to a screening of Modern Times in NYC with a live orchestra. The laughter in the hall was unlike anything I've heard during any recent comedies I've seen in theaters. From children to seniors the audience was eating it up. So, I have to say, it's worth it to study film from back in the day. For all sorts of reasons from the cinematography to the editing, writing. Chaplin holds up very well for today's audience. When I was in film school I was always frustrated that we wouldn't study Kieslowski, or The Coen Brothers or David Lynch. Nothing that I loved and was watching currently. Instead we watched Felini, Bergman, Eisenstein etc. Now I wish I could go back and pay more attention to those lectures cause there was a lot to be learned in both technique and theory. However, to answer the question, Big fan of Ellen Kuras, Reed Morano, Bill Pope, Matthew Libatique, Tim Orr, Tom Richmond. Just to name a few.
  6. Ex Machina may be the only film that gives me cause to consider the criticism of Sony cameras more seriously. On the other hand, Annihilation was shot by the same DP and with the same camera but looked much better. So, hard to say.
  7. I don't blame you. I'd never leave the set with the only copy of the footage. I'm saying the laptop would be owned by production and they could put a drive in it so that they can make redundant copies later. Both the primary dump and the secondary copies would happen faster cause the footage is only going to one location in one direction.
  8. Many don't consider the option of loading a laptop with a 4tb SSD and doing transfers directly to the laptops internal drive. It's way faster and easier on everyone especially when you're working remotely away from power sources. The drives have only recently become affordable enough, which may explain why I've never seen anyone other than myself do it. I put a 2Tb drive into a super cheap HP ProBook and use it mostly for transfers. It always blows away a macbook onset in terms of emptying the cards quickly.
  9. How about renting extra cards and doing the offloading at the production office? Probably cheaper than hiring an onset DIT. A lot safer to ingest away from the set. No pressure, no fear of power kickouts or hardware, software, connectivity issues.
  10. Actually the most frequent movie going audience is 25-39. At least according to MPAA stats. People still make content for an older audience. It just doesn't often do well at the box-office and usually has to break even in SVOD or OTT. Wakefield is a good example of a great recent film that underperformed financially. Probably due to it's marketing but it could also be the slower pace of the movie. Changing audience tastes. Hard to say.
  11. You can find a ton of stuff from these guys http://www.usedmovielighting.com/
  12. As your crew grows in size, you'd be better off adding a 1st A.D. to handle the logistics and a production coordinator or manager to handle coordinating of the shoot. Take the headaches away and let you focus on the creative side of things.
  13. I was on a shoot once where the gaffer was twice my age and the director was half my age. It didn't really affect things much. I always let someones attitude and skillset speak for itself.
  14. Why make it look like you did everything? Unles, you want to work in a vacuum, alone with no money or crew indefinitely, then by all means, make it look like that's how you roll.
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