rbg

Hey, Just wondering if anyone has done an offline with the proxies that are automatically generated by red and then done an online/conforming thing at a post house after?

It does look like a nice alternative to regular DI or HD telecine for anybody shooting Super16, especially on a budget. Good to see you knocking around on here Eric!

Hey, Just found out about this: http://www.laserpacific.com/pdf/LaserPacific_inDI_v2.pdf I'm wondering if anyone has feedback, experiences, comments. Looks like a good indie-tool?? Ryan Barton-Grimley

BEAUTIFUL WORK!! By far the best looking HDV/Mini-35 stuff I've seen. I think your underlighting, may have actually helped the look??? Anyhow, how much color correction was done? Again, really nice work! RBG

Hey, I'm just wondering if anyone has been using the Movie Tube since the last thread? New info, experiences? Any examples of stuff shot recently??? Thanx! RBG

Thank-you for your response David. Actually we will do the 2k scan from the EDL. We won't be scanning all 56K, my mistake. Thanks for the ballpark pricing and the breakdown. Its definitely helpful. I appreciate your input, as always. RBG Thanks for the response. I'm definitely open to working with a post supervisor. Any recommendations are welcome. Thanks again. RBG

Hey all, Was wondering if any of you have any recommendations for Post Houses in LA, specifically to do 2K Digital Intermediate on a Super16 feature, aproximately 56k feet. Also, the pricing info I've been getting has been all over the place, so I'm wondering if anyone has ballpark pricing. We want to end up with something to project, as well as have an HD render for the DVD master. Thanks! RBG

Hey all, I was wondering if anyone had recommendations for "Horror/Gore" specialFX in Central America or in Los Angeles that would go to Central America, but not for "an arm and a leg." Haha! Also recommendations for stunt coordination - some car/motorcycle, mostly fighting, some gunplay w/ squibs, as well. We're looking for good professional stuff, but not excellent. We're expecting stuff to be a little cheesy as it actually works with the project being a comedy. I know this may be out of context on the forumn, but it I figured, if any of you have been shooting this kind of stuff, maybe you met some cool people that are good at what they do???? Thanks for the time RBG

Thanks Michael! It looks pretty good in the video. Did you notice the flaring softness around the outside of the frame? I wonder if that is the flare that the Abel Cine Tech guy said would happen if the camera's internal focal length is set much above 25mm???? Anyhow, an interesting product for low budget filmies non-the-less. RBG

A few questions: The image was very clean! And no moving parts either. Pretty cool. What camera do you recommend most with the Movie Tube unit? I saw it on the Panasonic, but I really want to shoot on some kind of tape, so maybe the JVC GY-HD100U for native 24p??? I don't have a P2 reader and I don't have one of the New Mac Lap-tops that reads them either otherwise I would. My editor has an Avid, so I figured I'd up-load by firewire directly into the system using the camera, at the end of the shoot, and I'd have the tapes as a back up. Anyhow, is there any footage available? Has anyone seen footage projected big? RBG

Hey, I saw the Movie Tube product at Cine Expo this weekend at the Abel cinema tent on a Panasonic P2 camera. It is meant to be a better product than the Mini-35 and the Red Rock gizmos. It looked kind of cool. From what I could see, the only problem was losing 2 stops of light. Has anybody seen or used it? Opinions, ideas, comments? RBG

You could try Wooden Nickel. I heard they're cool. http://www.woodennickellighting.com/pages/...nmainframe.html

I'm assuming you have auditioned these actors and liked what they did enough to cast them, so really... it is all about working from there. Every actor works differently, but as some others mentioned, the words are important, but the meaning is more important. If they actually know what they're saying and trying to get from the other actor, they should be active, real, and dynamic, or at least as much as the story will allow them. How long it takes to get to this point depends on the actor. Don't beat it to death with the specific dialogue and let them improv the scenes in their own words during the rehearsal. This will tell you where they're at in understanding what the heck is really going on in the scenes. A trick I've used before with good to great results on set when actors are stuck in a "loop" or stuck delivering the words in the same way over and over, ie..... not in the moment, is to have them deliver the scene in their own words as close to the actual words in the script as possible. I have them do it a few times until they're back at the meaning and what they're trying to get, then I have them do it again right before we roll camera, then roll camera/sound, and have them deliver the scripted words immediately. I've gotten some great results that way, really real, dynamic... RBG

Ideas?? Thoughts??? Suggestions??? Probably going to be shooting something in Costa Rica on Super 16. I've heard that there are labs in Miami that are decent, but would prefer to get it done at PhotoKem. Either way, does anyone have experience with getting exposed film out of Central America to either Miami or LA to get it developed and get Dailies back down there within a couple of days????? As always, thank-you all for your help and suggestions. RBG

Unfortunately, I am sure it wasn't from light sources, as I was shooting outside with a stationary bounce. Nothing was moving. RBG I took it into George Zorzolli at Optical Electro House in Culver City. He's gonna check it out. What you're describing sounds like what is happening, especially the part about the exposure jumping around, frame to frame. Damn! I hope he can fix it. I'll post his results. Thanks for the info. Tim. RBG

Hey- I just shot a spec music video on my CP - GSMO and during the transfer, both the colorist and I noticed a flicker in the footage. It happened on multiple lenses, multiple mags, and I used multiple batteries, so I'm thinking it's something electronic, something to do with the regulation of the motor speed. It's not super bad yet and is only really noticible in the whites, but the colorist said all of the levels were spike-ing. I want to save it before it gets worse. The camera is like one of my kids. Does anyone have experience with this in a Cinema Products camera, or a GSMO to be exact??? Help?? Thanks RBG

Beautiful stuff! I absolutely love your use of light and color. And you're not afraid to go dark. Great reel! RBG

Hey- I think it looked great. I loved the use of color and lower levels of light. Composition was cool. Nice and moody. Good work! RBG

Hey- I'd have to agree with you about the short shutter angle on some of those panning shots. It really pulled me out of an otherwise decent film. There is a shot that pans around a room over some pictures on the wall, something that we've seen in other films for sure, but due to the short shutter angle, it was mostly out of focus and kind of pointless. I understand the artistic decision to add a hyper-active quality to the film in certain moments, thus enhancing the story, but during a shot that is basically expositional, it seemed mis-used or even a mistake. Also, when arbitrarily intercut with footage shot with a longer shutter angle, it just didn't work. Other than that, good job Mr. Spike Lee, and good job Matthew Libateque, very entertaining, dolly-shot and all. RBG

Amen Brother! I have a CP-GSMO and the footage looks the same as any other 16mm camera. It is all about the lense you put on the box, how you meter it, and how good the lighting is. I've seen stuff shot on an SR-3 that didn't look any better than some of the stuff I shot out of my little GSMO with some nice glass in front of it. That's it. Good luck. RBG

Hey- Nice work on the camera light. A man's gotta do what a man's gotta do. Thanks for the reinforcement on the frame/per/second thing with the singer. I appreciate it. And again, nice work. The video looks great! RBG

Hey- Nice quick work! Is that mostly practical lighting? I really like the 36 fps, looks very soft... and the talent is interesting as well. Is the singer singing along in synch? I'm wondering because I'm shooting/directing a music video on monday where I was gonna do most of it at 48fps and have the singer sing along to a track sped up to double the normal speed, so that it would be in synch with him in slo-mo, but the track was so fast his performance was gonna be a problem. Also, coordinating extra action at that speed is tricky to get it precise....I'm gonna shoot him at 30fps, and do some of the action of the additional action at 48 and 64. Thought and ideas appreciated.... RBG

Hey- You can rent a leko at most lighting rental houses for 20-30 dollars. They're only 575 watt, but depending on the degree of the lense, can be pretty bright. You can also get a pattern holder and put steel gobo patterns in them that are focusable. The cutters(like shutters) are super quick and easy to work with. I use these lights on stages frequently and they're really cool. RBG

I agree with the above post. Go Super16. You can get really good deals and with the new stocks available, it can look really nice. If you ask a film distributor what medium they prefer, they'll still tell you: first - 35mm, second - Super16, third - HD, and absolutely NOOOOO DV. Super 16 is cheaper than 35 and HD, so the choice seems pretty simple. RBG Ryan Barton-Grimley

Hey, Not bad for 400 bucks! There's some good stuff in there and I'm sure you learned a lot. That's the most important thing, right? The look of it was pretty good, you got the whole "cool, blue, urban thing" going. There are definitely adjustments in the lighting that you could have made, but there always are. Some of the framing and movement could have been more creative, but I don't know how much was based on the actor's blocking or vice/versa??? The writing was OnTheNose and melodramatic and the actors played it that way and then some. The script will always be the blueprint. I personally have lit and shot the hell out of a few sub-par scripts with bad actors, that I wrote and I've become a better film-maker and writer for it. Keep shooting and writing! Ryan Barton-Grimley RBG