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Mr. Macgregor

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About Mr. Macgregor

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  • Occupation
    Cinematographer
  • Location
    Los Angeles
  • Specialties
    I'm very good at sleeping.

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  • Website URL
    http://www.macgregor.works

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  1. Wait wait, why do you guys think I want to transition to narrative?
  2. Thanks for the comments gentlemen. I'm aware of most of the advices that I read here. Totally valid things such as the industry forces us to focus on one field etc. I'd be OK focusing on just working car commercials for now, as most of my reel revolves around cars The pay is alright and they're fun to shoot. My question was more towards how would you guys would build your network given that I'm not starting from scratch. I feel that if I was a student in my early 20s it'd be much easier to start meeting people and shooting projects, mostly for free or little money, which would slowly help me build friend relationships and a job network. But since I'm not quite in that position, that's why I wanted to hear your thoughts. Thanks again, I really appreciate this community.
  3. Hello everyone, old-time member here. I'm finding a hard time landing jobs and it'd be great to hear any usable advice on the matter. I've been in the film industry for 15+ years as DOP and director. I've shot a few shorts that have won a bunch of awards (not trying to come off as arrogant just explaining my background) and I even got hired by a major studio to direct a feature. I feel I'm a bit stuck at the moment. Most of my friends and network make low budget commercials or indie films or they are professionals that work in the film industry but don't work on projects to the degree of expertise that I do, so very rarely I get asked to work for them. Of course I'm not in any union at the moment, don't have an agent, nada. On top of that over the last years I've been changing country of residence every 2 years which of course does not help when building a network. So I feel that while I do have enough experience and a decent reel, I'm really constrained by my network and a city that is highly competitive and hard to break in. What are your opinions on the best way to move forward from my current situation. My commercial reel in case anyone is curious: https://vimeo.com/183924705
  4. Curious to see if you found a solution.
  5. If you plan to shoot Bourne 4 or that kind of stuff forget the RED, at least with build 12. The distorsion is huge in fast pans or fast objects.
  6. Thanks Stephen. Master primes are away too far in price for this shooting. The story involves some wide shots and very close ups (85-135mm). What would you recommend then to rent? I am thinking that i might skip film for this project and go with a RED. But since no one has ever used a red1, no one knows how cine lenses should perform (besides the S4 that Peter J and Red team have been using).
  7. A desert, with very straight horizontal lines:
  8. Mr. Macgregor

    150 fps

    :rolleyes: Well, i really needed to go fast. Flickering is not too annoying anyway. I wonder if there is something that could go this fast.
  9. hahahaha. What about barrel distorsion, will i encounter any?
  10. Hi Stephen! Wow, You are always online. Do i have any other option at the superspeeds price?
  11. Hi all. For a two camera shooting. Do you think i could mix shots taken with these two different sets at the same given T number? I want to shoot at T2.8 where both should perform quite well. Will i get similar resolution? Also i am worried about the Superspeeds being quite older, in terms of barrel distortion in the wider lenses. best, Mac
  12. Mr. Macgregor

    150 fps

    Ok, i just reviews the telecine. 150fps at 45º and 22º, give flickering problems. <_<
  13. Thanks Dave. WHat is the OMF? Do i have to capture from the 1st frame in the tape or that just does not matter since time code is time code. BTW, how does the post house know exatly what timecode code corresponds to the actual frame in the film? Do they save a timecode/reel metering code for everything they do? So do they have to find that later?
  14. Because Avid EDL are the industry standard. FCP cheaper than AVid? Well, maybe the PC low versions. Ask for the price of an Adrenaline system. Transfer in PAL countries is done at 25fps so everything goes a bit faster. If you have sound you need to adjust it. My film has no sound, so it dont care. Vegas is much faster in editing to all other editing suits. When i say editing, i mean cutting moving clips, cropping, readjusting, using fades etc... The preview window is quite smart and FCP nor Avid are close to that. And it is not so amazing, it is just that the others dont make it goog enough. Vegas is not good for handling files as well as FCP or Avid, so for very long cuts i would avoid it if you dont want to get crazy. Music videos, ads, shortfilms, anything shorter than 20 mins, and Vegas will help you finish the work a lot faster.
  15. Why? Vegas 7.0 is above FCP in many aspects and well, everything is better than avid ;D Vegas video only lacks a bigger bit depth color managing to be perfect. But since EDL need to be done in Avid, i have no other option but to use Avid.
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