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Mr. Macgregor

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Everything posted by Mr. Macgregor

  1. 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.
  2. 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
  3. Curious to see if you found a solution.
  4. 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.
  5. 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).
  6. A desert, with very straight horizontal lines:
  7. :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.
  8. hahahaha. What about barrel distorsion, will i encounter any?
  9. Hi Stephen! Wow, You are always online. Do i have any other option at the superspeeds price?
  10. 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
  11. Ok, i just reviews the telecine. 150fps at 45º and 22º, give flickering problems. <_<
  12. 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?
  13. 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.
  14. 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.
  15. Hi all. So i have this wonderful DVCAM tapes from the laboratory. They have the time code and reel codes printed in the image. And now i have to edit. The goal is to create an EDL to later scan the film at 2k. And my question is: how do i make this EDL? I am an expert in Vegas, but i think Vegas and timecodes do not go together well. I can edit in FCP but i have no Mac around me for the project. I could get a cheap Avid and edit there. Remember this is a rought cut to be later scaned and worked at 2K. So my questions are: how does the lab know what time code corresponds to what reel and lenght? Is the DVCAM timecode attached to the avi file that i will capture? What happens if a frame is dropped? I am sure all this workflow is somewhere but i could not find it. CIao!
  16. Hi! can you point me to the link?
  17. Mr. Macgregor

    150 fps

    Easy question: 150 fps. European 50Hz electricity. Will i encounter flicker problems with flicker free HMIs and Kinoflos? :rolleyes:
  18. I do. But i am not good enough to judge what my eyes see. There is like a stop in difference. uhmmmm....
  19. Hi guys, what lense does a better performance in the longest range zoom (starting at 50mm)? 18-90 mm. Cooke Varotal T2.3 or 20-100 mm. Cooke Varotal T3.1
  20. My idea was this: if the zoom lense is too heavy, lets have my assistant holding the lense with his shoulder, so we are like two camera man. The shot is handheld but i dont have to move around. So we need two more extra assistants, one for the focus and one for the zoom. I promise to upload the shot when finished here. Plus a photo of the 4 of us "attached" to the Arri. :lol:
  21. What i dont understand is why the projections are not washed out by the soft stage lights. How can this be achived withouth veeery low power lights?
  22. The weight issue was a joke. It is only one shot. Weight is not going to be a problem. ;D
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