Bill Totolo

I used to work with Tony Askins' daughter a couple years ago. While we worked together her father won the emmy for cinematography on a sitcom two years in a row (Will and Grace). It makes you re-evaluate something easily taken for granted. Plus, my job allows me on set for a lot of cable and network programming and I'm always impressed. Latest set visit was "Dexter" shot by Romeo Tirone. Nice work, great sets. I get to grill the gaffer/best boy and learn a lot.

I'm not sure if the capture rate has an impact. I just shot 720/30Pn over the weekend and was able to dump data from my 16g card in just over 9 minutes to the client's 7200 rpm LaCie from my Powerbook G4. The card was completely full. This is the fastest I've transferred data. Cable length was about 3 feet. It's typically been taking me just just under a minute/gig. I usually capture at 720/24Pn

Matt, I've been renting 16G cards for $20 - $40.

Well I just watched the trailer on their sight and was blown away that it was shot on an HVX. I wish the DP would log in and discuss.

Nice work, Jeremy. What were your lenses of choice (focal range)? Also, What format did you shoot in? Last question, what's going on with the edge of the car in the scene where the guy slams the door shut. Looks like heat ripples or something.

Wait a minute, don't they both run on batteries? You don't have a power concern, you have a storage concern. What you need is an adequate amount of cards to cover your recording needs. Each 16G card is capable of recording 40 min's at 720/24pn. 10 cards gets you 400 min's, and so on. Not to mention the FS-100 holds 100gig. Bringing a portable laptop and offloading to that opens more possibilities. It's not the only tool for the job but where there's a will...

Awesome deal. I visited your website but couldn't quite figure out exactly where you are located. The demos look great. Bill

You can open the shutter beyond 180 degrees. 350 is the max.

Well, what you do is a COST/BENEFIT analysis, right? You weigh the costs of owning the car against the potential benefits. Take into account how much the vehicle will cost you over the life of the car (or however long you intend on keeping it) factoring in registration, insurance, and in this case most importantly, repairs. I recently had to replace a car and was very close to purchasing a used Land Rover until I discovered a tune-up costs on average around $1,300 us. Well that made my decision easy! So look at all the angles and see what's best for you and I highly recommend going to the user groups/forums out there for each car to discover what the expected repairs and maintenance expenses are. But first cars are supposed to be rust buckets! Good luck with your decision.

Yes, Panavision Genesis I've been told.

I'll just tag along on this thread ands ask if anyone can recomend a good handheld shoulder mount rig that I can rent while using the HVX attached to a Redrock.

Singer's has bad luck. I heard there were a lot of problems with the cameras used on Superman as well.

Has anyone experimented with settings when mated to the Red Rock 35mm adapter? Do you increase/decrease detail etc? Thanks, Bill

Thanks for sharing, Matt. And keep up the good work. Very inspiring.

Thanks for sharing your settings and your images. I think they look very crisp with nice attention to detail. Just a few questions for clarification: You mention HD Norm as your Matrix setting but that option is under Gamma which you mentioned you used Black Press for. So I assume you used NORM under Matrix options? Under Operation Type were you using Film Cam or Video Cam? And did you ever adjust the detail settings? And lastly, if you remember, how far did you lower Master Ped? Many thanks. Again, nice images.

"Blade Runner" is currently playing at the new Landmark at Pico and Westwood until Thursday.

Well directed. Felt like a Wes Anderson piece. See that, you don't need a fancy camera or a big budget to shoot a cool little video.

This is contrary to my understanding. If anyone can offer technical assistance I would appreciate it. My understanding is the dry tape head cleaner actually damages your tape head a little bit every time you use it. And that using using a tape head cleaner consistently will diminish the life of your heads. I've also heard that using the liquid head cleaner is a lot gentler. Can anyone confirm or deny?

The trailer running at the NUART looks AMAZING! Anyone in LA should see it.

There were color films in the New Wave, you can reference Godard's "Weekend" for example. 35mm was pretty much what Coutard was shooting in his Cameflex. I don't know if any were shot on 16. I read Michael's link to Wikipedia. Lot of good information there.

Maybe she wants to use a Cameflex. Okay seriously, I think the term they use to describe that style of shooting is reportage, or what we think of as documentary: shooting handheld, on location. Many shots were spontaneous and completed in one take. And, contrary to belief, many of those films were lit. Coutard and others experimented with a lot of ceiling bounce mixed with hard light. You can reference films like: Jules et Jim; Bande a part; and A bout de souffle. The American Indie movement borrowed heavily from the Nouvelle Vague, that may be why it sounds familiar to you. I also feel the Dogme '95 movement embraced this aesthetic as well. You should definitely acquaint yourself with the Cashiers du Cinema magazine articles and the Auteur theory. Two key elements of the period. Keep us posted.

I was genuinely lucky enough to meet Quentin in the green room where I work and complimented him on his recent work on "Death Proof", particulary his camera operating. Before I could get any tech talk out of him we had veered so far astray from the subject I couldn't steer it back. To talk with Quentin Tarentino is a little like being swept up by a tornado and dropped fifty miles from home. Still stands out as a highlight at my current position. He was actually nicer in person, which is seldom the case.

I would test the waters. Offer $100/day and see what happens. A lot of people are just happy to get paid for doing something they love. Try submitting to local theaters, etc.

What I have found, that works for me, is to remove the dome, point the incident meter at the sunset, and use that reading for exposure. This has provided me w/ silhoutted foreground and detail in the clouds while getting a nice orange ball in the horizon.

P2 cards are a separate purchase. Figure about $900 for the 16G card. Call EVS in Glendale, CA for a quote.