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Mark Allen

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Everything posted by Mark Allen

  1. Well, there were definitely a lot of noticeably soft shots - the one of Ving Raymes saying "I knew you would" or something like that probably being the most obvious example. Here is my question... I totally understand that it is difficult to allow an actor some freedom AND shoot in this format and in telephoto. However, on a big budget movie like this - isn't there some sort of laser guided focal system where you can aim your focal point and then just let the autofocus pull it? No offense to AC's but if it is humanly impossible, there must be some mechanical way of doing this. Why would they not use this? I ask this as a director who always seems to find a soft shot now and then and think... "Okay... there's GOT to be some better way of doing this." Is there? I always assumed it was because my budgets were so low that there was not. But MI3... well, they've got a budget.
  2. Well, this is not accessible to everyone on the big screen until the Nomadic Museum comes to your area, but I was just interested in hearing any cinematographer's comments on this 60 minute film. I thought the whole thing, while definitely a vanity project, was also quite beautiful and definitely worth seeing. It's only in Los Angeles (at Santa Monica pier) through this weekend - but I do think it would be of interest to anyone involved in cinematography. Especially because it is very much a poem told through photography - not unlike Koyaaniquatsi. You can get more information here: www.ashesandsnow.com If anyone else has seen it, I'd be interested in knowing your thoughts. Exotic photography with zero special effects.
  3. Either these places would have it or would know: http://store.yahoo.com/cinemasupplies/chromkeyfab.html http://www.eefx.com/eefx2/store/item_ck_bkg.html
  4. I saw this discussion: "the HVX200 cannot stream 24p Native out of firewire; it can only write 24pN to P2." - indicates it won't work full bandwidth for the 24p unless you are recording to P2
  5. Mark Allen

    Red

    mmost - we're here talking about a camera in development in a forum dediciated to a camera that is in development. So, how can referencing other camera's in development be moot? I didn't say I was going out on a shoot next week and was wondering if I should use one of them. Honestly sounded just like you wanted to slap me for some unknown reason, did I say something that offended you?
  6. Japanese film: Kurasawa's "High and Low" is probably my favorite Japanese film because the drama is so strong. It's not a fancy movie - it is great drama. It's my favorite Kurasawa film, I don't care much for his later work. Russian Film: Something by Andrei Tarkovsky is maybe of interest. "The Sacrifice" is his last and maybe most notorious movie.
  7. Here is an odd but practical suggestion. How about a shot logging solution? Since the camera will be recording to digital files, it would be quite convenient in the post workflow if the shots on the drive/RAM/whatever where prenamed with custom names and takes Whether they be slates numbers or entered names. There will have to be some process whereby the clips are named anyway - what if the user could just enter something like "Carey_Interview_***" and then the *** became 001,002,003 etc. Entered by keytouch, bluetooth, etc. Just a thought for those with quick turnarounds... and, well, anyone with post production workflow concerns. It could even go one step further which would be a key to tap which would do an auto split without stopping "tape." - You hit one key, it splits the file and makes the new file the next increment up. Most of all, i think people just want good depth of field, good resolution, and the best luminance range seen on video yet. The rest is gravy.
  8. I think you get two weeks free, right? you can just try it out. Used to be. I am a long time member, but I need it as a producer to track actors mostly. I also keep an eye on the starmeters of my actors who are in my corner already so I can keep a sense of their popularity. I should probaby cancel it, but I never do. I use it just enough to keep the subscription going. But I do find it overpriced. half the amount would be worth it. I was actually recently quoted in a magazine talking about the service ironically - about the whole age issue which is an interesting phenomenon. Actors are not happy about it, but producers need it for the advanced searches to find actors in range. Interestingly though, there is no ethnicity category which while for a crew person doesn't matter is actually a BAD thing for actors because it's really hard to browse for someone of a particular ethnicity when a role calls for it. If it were easier, the actors who had worked less would have a better chance of being found. Funny when trying to be politically correct can backfire.
  9. Don't have an answer on the mic, but two things. Do a LOT of research about how to do this safely - even blanks can kill. Make sure everyone on the set is wearing serious ear protection. Also there is a production sound forum here you might ask this in.
  10. If you have a project ready and are looking to hire him, you can contact his agent: International Creative Management (ICM) Paul Hook Beverly Hills, CA: 8942 Wilshire Blvd. Beverly Hills, CA 90211 USA He is just about to direct something called Paris je t'aime btw and is in pre-production with Dark Matter.
  11. Well... since we're trying to think progressive - I'm tossing this out to RED and the pro DP / AC's... I apologize if this is already something which exists outside of my realm of experience, and I realize that this would be a lense issue - but it would have to tie into the camera... For times where there has to be a single operator - but you are doing staged motions where (because of the large sensor / limited depth of field we all love) there has to be marks for focus. Could there be a digital read out in the viewfinder which would indicate this? Visualize it this way... on the left side of the screen there is a thin vertical line which would represent either your entire focus range or a user zoomed in range. Then you set your focus points and they appear as horizontal bars across the vertial line - then while you are shooting you can watch you red horizontal bar move up and down as you are changing the focus - so you can watch the motion and in your peripheral attention be changing your focus accordingly.
  12. I'll start the feedback with this: The camera seems to be finished in a shiney chrome. This would end up affecting the lighting on the actors. On theatrical sets, the controlling of errant reflections is an every day issue. Even at a sacrifice of the cool look - I think a black or dark gray matte might be necessary. And the questions with this: One of the rumors that most delineates this camera was the expanded dynamic range. I didn't see much commented on that from the NAB news. Is this still part of the plan?
  13. Mark Allen

    Red

    there is no reason to have a deck if you have the Red camera or any camera of it's nature (SI, truecolorspace, kinetta) unless you have a specific output need, and then HDCAM would not be the way to go as it is heavily compressed. You would not HAVE to have a monitor there either. You could to a color correction studio or rent one for when you are doing your color correction, otherwise, you're just editing and can do that on flat panels.
  14. Mark Allen

    Red

    The thing I'm most surprised people are not talkng about is the whole issue of expanded lattitude from greater bit depth. That is the thing I want in on. And... why isn't kodak making a camera? If they rule both the film and digital worlds, it seems it would make the most sense for them to hedge their position with the single best motion picture camera available.
  15. This job is taken just in case anyone sees this posting late and isn't sure of the date.
  16. I can see both sides. On the one hand, if you're a professional in the industry, you have a responsibility to make things happen which requires concrete working tools. If anything gets hyped too much, producers and executives assume it's real and it can make your job even harder when you have to explain why you have to rent the genesis or pay for all that film when "the red will do it all for 17.5k." Totally legitimate. On the other hand, once a filmmaker loses his ability to hope and dream and fantasize and let himself be swept up into a little bit of awe and imagination... he's lost too much. So... dream safely. hope cautiously. The reason I put down my $1,000 for the deposit is because I deal with a lot of executives of studios and mini majors and I want them to know that if the revolution is happening - I'm right with it. It solves the problem for me. "Don't lecture me about the red, I'm the owner of their 89th camera." It also helps to firm up my company's three picture plan for next year - puts us on the line. The camera would be PERFECT for us. We will do it with or without it. Without it? We rent somthing else. With it? What a great bargain for us... and again... we'll be going into production 2 months after they think their cameras will be ready. Makes for some good enthusiasm among the camera-centric executive crowd. They like to dream too. Mark D. Allen Red One owner #89 - ;)
  17. Yeah, the camera DOES NOT EXIST.... They are hoping it will exist and be shipping at the start of 2007. They claim a lot of amazing things - but never that the camera exists as anything other than a non-functional prototype. I think everyone's best plan is to check back in December and see what happened. Mark Allen
  18. Yes, no one is reporting on that, despite the fact that they are giving the details as of yesterday... hello bloggers??
  19. We are doing a very very simple head and shoulders over greenscreen type of shoot and are looking for one person who can pick up the equipment, set it up... and then there will probably be no lighitng changes, if you wanted to hang out outside and talk on the phone, would be fine. It's a pretty relaxed shoot. Then pack it up, take it back. Pretty simple gig, just short notice and we'd need someone who can port the 12x12 GreenScreen poles. If it requires getting a vehicle, please include that cost in your private message (i.e. labor + x). Please private message me if you're interested or have someone who would be and available THIS Wednesday 9am to 4pm shoot. Include your rate for the job and some way of contacting you quickly. Thanks.
  20. Oakley - the company that made Jim Jannard all his money is an optics company - goggles, sunglasses, etc. So they have some opinions on optics. He probably made a 300mm lense first 'cause that's what he felt was most missing from what he was happy with in the market. Speculating.
  21. Well, camera number 89 is mine. Yes, I put down a deposit on this camera, tried to do it first thing in the morning (wanted a low number), but I couldn't get through and didn't get the call back until the afternoon. What on Earth am I thinking? Well... if I don't like what I see down the line or the competition is better, it's fully refundable. If I do - I want one and I probably won't want to wait. That simple. My basic logic was... if it's too good to be true - so good that people don't believe it's possible it could be made. I'd probably want one. Side note: apparently that 300mm is a fixed lense... Odd. But sounds like they will be making other lense options. There are also lots of PL mount lenses out there.
  22. That's what the article said.... curious if that's a zoom lense?
  23. Curious why you didn't just roto out and replace the fan instead of putting the girl on greenscreen - is there something behind her which is faked?
  24. For the people wanting the headlines: Here is the information summarized from this article: http://www.studiodaily.com/main/searchlist/6388.html Specs for the (currently vaporware*) RED Camera: Designed and created by billionaire Jim Jannard of Oakley, Head of tech is form Mac Guy from AJA. Super35mm CMOS sensor, Bayer patter, custom designed and built. Resolutions 4k, 2045, 1080, 720 Frame Rates: 1 to 60 in all, 1 to 120 in 720 "Target" Date: "Meaningful Production Quantities" - begining of 2007 PRICE: $17,500 for camera alone including "S35mm Mysterium sensor, S35mm PL lens mount, LCD, HD-SDI output (4:2:2 capability), dual HD-SDI outputs (4:4:4: capability), battery and charger." - No storage, no lense. Lens: PL Mount, they will offer their own Oakley 300mm f2.8 lens for $4,750 *vaporware meaning - it has not been produced yet, not that it will never be produced.
  25. If you study improvisation, you will eventually come upon the theory that we are born great actors - and this is often evidence in just noting how much radiance a baby will have - they are very live - they have no inhibitions in sharing their presence and emotions. As we get older we learn shame, we learn to hide our emotions, to bury our feels - even at a radiant level. (Read Keith Johnston'es IMPRO for a lot of great information about this and the development of improv.) Some people, of course, are less affected than others and we often associate these people will having "chrarisma." They are very live and present. You know them when you meet them. I think most actors spend a great deal of their time trying to unlearn their hiding - and actors find different ways which work for them. Some actors find that they remain very reserved people in life, but then find a secret way to bring out a performance on stage or in front of the camera - whether it's sense memory, imagination, or any one of many techniques or a combinatin - whatever works. So - once a person can actually shed this and is able to share themselves... which I personally find huge... but once they shed this - THEN there is technique study... ways of building a character deeper, ways of making characters unique, giving them history and personality, learning how to map their growth throughout a project - especially when you're shooting out of sequence. Then beyond that there are simply techniques - like learning how best to perform for a camera - very superficial things, but things which do matter a great deal. It's just like writing. Most pepole can put words on paper, some people even do it well. But the art of constructing a story is one which involves many learned skills and a lot of preparation. Without the study- you may end up writing a good story now and then, but what if you need to write lots of good stories reliably? Helps to have some techniques working for you.
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