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Michael LaVoie

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About Michael LaVoie

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  • Occupation
    Cinematographer
  • Location
    New York

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  1. That would be surprising if that was permitted as the A-cam on a feature. Very cool though.
  2. What is the camera you're using for the normal 800 footage?
  3. The Matthews DC slider "floatcam" was an awesome piece of gear and could do everything a jib could and also act as a slider. I think the main problem with this product was the price. It just couldn't find a home anywhere in the market. No rental house had it and nobody bought them for personal use. Adorama has a used one if you are willing to go beyond your budget.
  4. Stephen already mentioned the issue of lining up the camera with the head. You could always buy a VCT snap plate and throw that on that Bcam. Then you can use any tripod you want and it won't matter if it has a touch and go plate or a sliding plate because you're never taking it off. You'll just use the VCT snap function to pull the camera on and off. In general sliding plates on tripods suck because if you have hand grips or anything below the rails in front a sliding plate will be a huge pain in the ass cause you'll have to take it all off to line up the front of the camera with the
  5. I've used entertainmentcareers.net and indeed.com to find development executives. Those sites worked for those types of people. VP of Finance, Global sales etc. I got a lot of responses. I'm not sure if either works for crew. My educated guess is probably not. When it comes to crew jobs, I've only tried Staffmeup, Mandy and that was to look for gigs. Not for crew. Both used to be great and were free for job seekers but not for employers. Which is, as it should be. This is key. NEVER pay to look for work. That's a total scam. Cause the incentive then is for the platform to create
  6. Have to agree with Stuart. First pic looks realistic. You could try a different approach to continue with this experiment... Pick an ISO and Tstop that you want to film at and adjust the fixtures and lights to suit that. Place a lit candle and put it in the frame next to the light. If the candle flame looks like a tiki torch in your monitor, chances are your ISO is way too high. Adjust it so the candle looks normal, then adjust the lamp accordingly so both look right within the same shot. A candle flame should look like a candle flame. Nothing more or less. So you can use one as a g
  7. Funny. I almost made this point yesterday but I thought it was too negative. haha. I agree and I think the last thing that any insecure producer/director/actor wants is to be surrounded by far more competent crew as it could make them look green. So they employ a top down approach of bottom rung candidates so that nobody on set knows more than them. This practice is industry agnostic although in film, you can see it everywhere. Take a wander through Linked in at some of the resumes of junior and even senior VP's. You'll find a ton of people with zero background and education in ente
  8. B&H dropped this in my inbox today. XPeria Pro available for pre-order. But the cost? Yikes! I guess it does multiple tasks, livestreaming in 5G (w 3rd party apps), HDMI-in for monitoring and USBC tethering when shooting with other cameras. Buying gear to do all this would be cheaper than the cost of this phone. On the other hand, a phone with Sony's Venice color science in the sensor? Along with Sony's pro menu in the U.I. when you open the camera? Hard to resist. For Android users, the biggest hurtle to smartphone production work is the godawful buggy, thoroughly confu
  9. Personally I can't watch the films of Wes Anderson or Miranda July and not get the general sense that these are artists making movies. Granted not every director would fall into that category but not everyone has the same approach to storytelling. For some, the craft is just a means to tell the story, for others "how" they tell the story is almost the whole point.
  10. True. He has stated in interviews that he doesn't remember how he did most of those films cause he was drinking too heavily. I don't know if that refers to his time on set or between films but he has admitted to having a problem with that. I think with any craft, there are techniques that are going to be abandoned with advancing technology but then there are general principles which will apply no matter the technology used. I'm for preserving and promoting the latter. If for no other reason than it would help newcomers to know that stuff so they can break the rules as they go forward.
  11. Where this really is a disaster is when you have the production positions filled with first timers. Like a 1st A.D. who's learning on the job. That's truly ridiculous. You need to be a 2nd, 2nd A.D. for a while and work up to being a 1st. Ideally doing it for someone who is experienced and good, otherwise you'll have no idea what that job actually is. The same holds true for most positions in film and tv.
  12. In the past I'd attempt to make that point to producers that if they're looking for a "lighting designer" for their crew then they need to fire their DP. That never worked unfortunately. Inexperienced producers often mistake the role of gaffer for a lighting designer and assume that the DP only has to know about the camera and lenses. Attempting to school a producer in this area is a war of attrition. Don't bother. There are some producers who hire cinematographers based on their ability to properly evaluate lighting levels across the set and set the lights according to the camer
  13. I wonder if this processor will make it's way into their line of SXRD projectors.
  14. To tweak in postproduction and apply that common teal orange look of blockbuster movies you're referring to, this software package offers finishing LUT's. The M31 is the one that gives the look you're after. Just keep in mind that less is more. You can apply this to an adjustment layer and only use it at 60% or so. Usually that's more than enough.
  15. I remember that issue of American Cinematographer. Lynch and Deming discussed that scene a lot and it was super important to them how dark it was. Unfortunately when that scene occurred there was also a reel change. I remember cause I was a projectionist back then. Funny to hear how all that careful deliberation was literally chopped out of the film because of the accident that the scene occurred during a reel change and most of us didn't know why there was so much black leader in the head of the reel. We literally chopped it all out. Well, most of us. I knew better. Cause I was read
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