Kevin Desson

I work as a DP/Videographer. I think the point to remember here is, as a Cinematographer you're hired based on the artistic and technical merit of your body of work, not the work on your body! That said - "Good tattoos aren't cheap and cheap tattoos aren't good" :)

I have both arms covered in 3/4 sleeves and have never once had an issue from a producer, director, client or anyone for that matter... usually just compliments on the artwork. Keep your tattoos tasteful and I'm sure you'll be fine.

I just saw a story on this last night on the local news (Toronto). It said boxes of HDCAM SR tapes are selling on ebay for as much as $6000 usd with some people expecting the prices to quickly rise to upwards of $12000 usd. Sony is asking people to refrain from hoarding tape stock but you have to wonder why broadcasters, etc wouldn't start doing just that. Solid State anyone?

The Dual Systems PCMCIA to Expresscard Adaptor works fine, but the software it comes with only works with OS 10.4.8 so if you're using 10.4.9 or 10.4..10 (as I am) you can download the driver from the Dual Systems web-site: http://www.duel-systemsadapters.com/support/downloads.cfm Regards Kevin Desson

Thanks for the links Jasper. For anyone who might be interested I came accross this handy tutorial: http://library.creativecow.net/articles/ro...p2_workflow.php He copies the files from the P2 card to an external drive to make a "master"....straightforward enough. Then to ingest the files to FCP he uses the external as the volume (rather than transfering the files directly from the P2 into FCP). I plan to use two external drives during my shoot, External A for copying footage from the P2, thus creating a Master, and then a second external (External B ) to store the Quicktime files after ingesting footage via FCP. Because I only have one firewire port on my Macbook, am I limited to first creating "Master" files on External A, unplugging it, then plugging in External B for ingest into FCP (so that I'm always connected via firewire) or is it possible/safe to have one external hooked up via firewire and the other via USB? Also, when my External A eventually fills up (200g) am I able to write the "Master" files to disk for permant back-up/storage, or do I have to keep buying external drive after external drive to ensure I always have a back-up of my native mxf files? (seems like that would get expensive real fast). Regards Kevin Desson

I guess I'll start by listing my specs: 2.4g Macbook Pro w/ Intel Duo Core Processor 16G P2 Card PCMCIA to ExpressCard Addaptor Here's the problem. I tried to install the P2 software onto my computer, but there is a notice saying the software is not supported by my Intel Mac. I know there is a Panasonic support page where you can download updates, but I'm having some trouble navigating my way through the site. If anyone can shed some light on my problem or direct me to the page within the Panasonic web-site where I can download the driver software I need, it would be very much appreciated. Regards Kevin Desson

"Jean luc Godard´s ALPHAVILLE shot bye Raoul Coutard" can't forget about BREATHLESS!

they grow up so fast don't they?

When I first discovered this web-site, I think it was the first time I didn't even question using my real name or information on the web, it just made sense. Thanks to Tim and everyone else that contributes to making this site such a success. Cinematography.com is a gift and we should treat it as such! Regards Kevin (p.s.) please don't delete my account

Don't know if anyone else can explain this better, but I've sometimes heard the expression, "We'll just 'Hollywood' it"......e.g. a grip just holding a flag / net instead of attaching it to a C-stand. I could be wrong, but I've heard this expression several times before, maybe it's a Canadian thing!

I was once told, "A set PA should never be sitting down, always on their feet and ready to do whatever is necessary."

Hey John, thanks so much for your quick response. The stock was chosen/purchased before I was brough on to the project. With regards to the effects of the Push, I am purposely trying to add more grain to the image, but thanks for the warning.

thanks John, but let me see if I've got this correct. If I light to my key, lets say 5.6, then anything in the scene not within 1/3 a stop, will be completely under or over exposed. Also, because of the slow speed of this stock (80asa if I read the Kodak site properly) I was planning to rate it at 125asa and then push it one full stop, do you see any problems with this? Thanks again Kevin

Is it a bad idea to use fluorescents when shooting on B&W Reversal...or B&W in general? Thanks Kevin

Besides none, what kind of latitude can I expect out of this stock, one stop on either side? and here's a real nube question, do I need to shoot a greycard with B&W stock? Thanks, Kevin

Thanks for the replies. I am aware that silent films shot at 18fps would have been intended to be projected at or near that same frame rate, which is why I'm hesitant to shoot anything less than 22fps (using normal telecine) because I don't want the action to be overly sped-up. Also, could you please explain the effect of shooting 18fps and doing a telecine at that same fram rate. Thanks again, Kevin

Looking for suggestions of a good framerate for shooting undercranked, to mimic films of the silent era. The director wants to shoot 20fps and I know back in the day 18fps was common, but I don't want to stray too far from 24fps, just enough so the effect is visable to the audience. Thanks, Kevin

Can someone please give me a difinitive description of the difference between Crystal Sync and Variable Speed. i.e. if a camera shoots 24, 29.97fps Crystal and 1-50fps Variable