Guest JonathanSheneman Posted January 18, 2006 Share Posted January 18, 2006 I think just as long as you have nice sharp lenses, pin registration, fresh stock and baths- plus an array of pro lighting equipment such as HMI's and those lights they hang off crains for night shots.. you basically rival all professional cameramen. AND you don't get hassled by the man which happens to me constantely, the police hate movies unless they're pig asses are getting payed $50/hr to provide "security"- what a joke. So until I can get Cooke and Superspeeds I guess most of you will be better photographers than me. We've offically entered the Michael Jackson era of seriously freakish cinematography like the Hi-constrasty bleach by-passed look used on most Movies and TV shows. It's unreal and distracting. I real better now. Link to comment Share on other sites More sharing options...
Guest Posted January 18, 2006 Share Posted January 18, 2006 What on earth are you babbling on about? R, Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted January 18, 2006 Premium Member Share Posted January 18, 2006 I think just as long as you have nice sharp lenses, pin registration, fresh stock and baths- plus an array of pro lighting equipment such as HMI's and those lights they hang off crains for night shots.. you basically rival all professional cameramen. Gee, I've got all of that and somehow I don't rival half the pros out there... It does take a brain to know how to use all of that gear, both technically and artistically. Personally, it seems that in the last few years we've seen a decline in the use of skip-bleach processing for theatrical features. I think you're complaining about a fad that already reached its peak, although there will always be some exceptions. Certainly contrasty images are popular -- I'm fond of contrast myself. Link to comment Share on other sites More sharing options...
Premium Member Jonathan Benny Posted January 18, 2006 Premium Member Share Posted January 18, 2006 (edited) I think just as long as you have nice sharp lenses, pin registration, fresh stock and baths- plus an array of pro lighting equipment such as HMI's and those lights they hang off crains for night shots.. you basically rival all professional cameramen. As long as you have the state of the art laser technology, a staff of qualified nurses and a sterile operating room, you basically rival all eye surgeons. Make sense to you? AJB Edited January 18, 2006 by Jonathan Benny Link to comment Share on other sites More sharing options...
David Silverstein Posted January 18, 2006 Share Posted January 18, 2006 Wow, thats not true at all. Link to comment Share on other sites More sharing options...
Chance Shirley Posted January 18, 2006 Share Posted January 18, 2006 If you think equipment is what makes a good DP, you don't much about cinematography. I think I'm doing pretty good sometimes, with my small 16mm kit, then I see some lovely footage somebody shot with a DVX100 and available light. And it blows my stuff away. A good DP will always manage to get great shots. Even, I bet, with a bad VHS camcorder. Link to comment Share on other sites More sharing options...
Mitch Gross Posted January 18, 2006 Share Posted January 18, 2006 As long as you have a pencil, you can write as well as Shakespeare. What bullshit. Link to comment Share on other sites More sharing options...
Josh Bass Posted January 18, 2006 Share Posted January 18, 2006 (edited) Guys, I think he's mad 'cause he got shut down during a location during a low-budget shoot of some sort. The rest is part of that complaint. Alright, I reread it. Maybe I'm wrong, but only kinda sorta. Edited January 18, 2006 by Josh Bass Link to comment Share on other sites More sharing options...
timHealy Posted January 18, 2006 Share Posted January 18, 2006 for me one of things that show how cinematographers are great is when the display through their work an understanding of the technical and creative elements of the craft and the relationship between the actors, the camera, lighting, and the story being told. And doing all that during a potentially political environment of a film set and industry. Best Tim Link to comment Share on other sites More sharing options...
Premium Member Chris Keth Posted January 18, 2006 Premium Member Share Posted January 18, 2006 (edited) I think just as long as you have nice sharp lenses, pin registration, fresh stock and baths- plus an array of pro lighting equipment such as HMI's and those lights they hang off crains for night shots.. you basically rival all professional cameramen. AND you don't get hassled by the man which happens to me constantely, the police hate movies unless they're pig asses are getting payed $50/hr to provide "security"- what a joke. So until I can get Cooke and Superspeeds I guess most of you will be better photographers than me. We've offically entered the Michael Jackson era of seriously freakish cinematography like the Hi-constrasty bleach by-passed look used on most Movies and TV shows. It's unreal and distracting. I real better now. Wow, you're a whiny little baby, aren't you? <_< I bet you anything that if I sat a panaflex and set of lenses in a field with a bunch of HMIs and whatever other equipment you're bitching about, that they won't do a damn thing. Equipment is inanimate, it does nothing except what you make it do. If you make shitty images, it's your fault and nobody else's. :angry: Stop whining about your equipment and you'll have taken the first step to improving your skills. ;) :rolleyes: Edited January 18, 2006 by Christopher D. Keth Link to comment Share on other sites More sharing options...
zrszach Posted January 18, 2006 Share Posted January 18, 2006 I think just as long as you have nice sharp lenses, pin registration, fresh stock and baths- plus an array of pro lighting equipment such as HMI's and those lights they hang off crains for night shots.. you basically rival all professional cameramen. AND you don't get hassled by the man which happens to me constantely, the police hate movies unless they're pig asses are getting payed $50/hr to provide "security"- what a joke. So until I can get Cooke and Superspeeds I guess most of you will be better photographers than me. We've offically entered the Michael Jackson era of seriously freakish cinematography like the Hi-constrasty bleach by-passed look used on most Movies and TV shows. It's unreal and distracting. I real better now. haha... riiiigggghhhhtttt No matter how much equipment you have nothing can beat good?ol talent. I find it hard to believe that the average Joe would even know how to use all the equipment you listed. If they did, they wouldn?t be paying us to do it? Link to comment Share on other sites More sharing options...
David Sweetman Posted January 18, 2006 Share Posted January 18, 2006 True, all those things aid in getting good images. You must have anticipated this response, but you really have no idea what you're talking about. Why would you even say that? What does it buy you? If you're a director, I don't know what you get out of bashing cinematographers. Or perhaps you have tried and failed, and therefore must find a way to mend your ego. You blame your equipment for your awful images. I'm using comparatively awful equipment, and if I get a bad image, I blame only myself -- I'm the one who lit it, who framed it, who operated, and regardless of my lack of grade-a equipment, it's my fault for screwing it up. Because I acknowedge this, I learn from it and don't make the mistake the next time. You work within the limitations of your equipment. Whatever you are using, it's not imposible to get a decent image with it. It's ignorant kids like you who give all students a bad name. Link to comment Share on other sites More sharing options...
Joshua Reis Posted January 18, 2006 Share Posted January 18, 2006 I think the key to being a good DP is making the most of what you have. I don't think I have ever been on a show as a DP or an AC where there haven't been uncontrollable limitations. We don't have enough film or enough lights...heck, there never seems to enough time in the day to get all the shots off. However, I think it is the limitation of resources and logistical boundaries that make us as DPs excel and improve our craft. I shot an entire Super 16 short without an AC or loader. I operated, pulled focus during all the shots..I even had to download and load 20 cans of short ends throughout the day. I was extremely stressed, but in telecine, everyhting turned out great. If you can't afford HMIs, use shiny boards. If you can't afford the Arri 435, shoot with an Arri IIC. Again, last week I found myself shooting a spec commercial without a camera crew, but I was better able to focus on DP stuff becuase all the technical camera stuff was transparent to me, I had trained myself and I was able to take care of the camera by instinct. Embrace your limitations becuase in the end, it will only make you a better cinematographer. You will develop a new style that is unique to you becuase you are not workign with the same "tools" as everyone else. I'm a firm beleiver that sometimes "less" can be "more." Regards, Joshua R Link to comment Share on other sites More sharing options...
Freya Black Posted January 18, 2006 Share Posted January 18, 2006 Yay! Cinematography is dead! Long live Cinematography! Really looking forward to all the freaky cooke lens movies myself. Sounds wonderful! :) Where do I sign up? love Freya Link to comment Share on other sites More sharing options...
Dan Salzmann Posted January 18, 2006 Share Posted January 18, 2006 It's definitely not the wand but the magic that comes out that counts. Link to comment Share on other sites More sharing options...
Jonathan Spear Posted January 18, 2006 Share Posted January 18, 2006 JonathanSheneman, Sounds like one of your projects got FUBAR. Try something new! Screw the equipment you've been using so far if it's jinxing you for some reason, and opt for another pallete of filmmaking equipment -- get a different look and take a new approach to your work. If you don't like it, try something else. I understand where you're coming from.. kinda. No matter how hard you try, you just can't get that Steve Vai sound playing out of a cheap strat and a tube amp. But you know what? The more I practice, the less I care about my equipment because I develop my own style -- and learn MUSIC. Sounds like what you really need is a great script. Good luck man. Don't give up. - Jonathan Link to comment Share on other sites More sharing options...
Premium Member Andy Sparaco SOC Posted January 18, 2006 Premium Member Share Posted January 18, 2006 I agree with original poster 100% and urge all of the newie readers of this site to embrace the idea that skill and experience have no value in the current culture of motion picture production. That approach will serve you well in what will prove to be an unfortunately brief career. Link to comment Share on other sites More sharing options...
dd3stp233 Posted January 18, 2006 Share Posted January 18, 2006 If you don't want to get caught filming without a permit, 1. Don't let anyone see you filming 2. Leave no traces I've see good cinematographers film great stuff with 100 year old equipment. Link to comment Share on other sites More sharing options...
Premium Member Greg Gross Posted January 18, 2006 Premium Member Share Posted January 18, 2006 Yes but how long did it take for the DVX-100(post production) to get to that point say Vs. super 16? Greg Gross Link to comment Share on other sites More sharing options...
Premium Member Greg Gross Posted January 18, 2006 Premium Member Share Posted January 18, 2006 Sweet Jesus, Fellows its not about what camera you use. There is art and craft here you know,which comes with practice and learning(studying)and then putting it to practice. You've got to compete with how many people to shoot a film? How many features are being shot every year? I'm not trying to be a smart ass here, but I can take Velvia 100F pop it in an old Nikon FE-2(old by todays st- andards)shoot at the appropriate time of day(bracket) and do just as good a job as the guy with a Canon eos1,D,Mark II N. This really pisses some photographers off that are so equipment ori- ented. I firmly do believe though that the better the lens the better the final product. I do not like zooms,I prefer primes. You are going to have to shoot with what you can afford or afford to rent until you make it to the big time. It took me a long time before I could have a canon eos1,D,MarkIIN in my inventory and I still swear somedays,that I have more fun shooting with a Nikon F2. My dream machine is the Arri 235,I wish I could afford the film for one. Greg Gross Link to comment Share on other sites More sharing options...
Mitch Gross Posted January 18, 2006 Share Posted January 18, 2006 I think we're mostly missing the point, at least other than the point of a taunt that has gotten a bunch of people to respond. To me this is obviously a rant from a newbie or wannabe or otherwise non-professional who want to tease and criticise those that discuss the best and most proper ways of going about making fine cinema. It is sarcasm to the Nth degree. Well we don't NEED to have the Cooke S4s and the latest Arricam, and we don't absolutely NEED to have proper shooting permits or insurance, but it is better to have them all. Look at the banner at the top of every page. Cinematography.com is for "professional motion picture camera people, news & resources." You can feel free to stick to the newbies and indie sections or go to other forums that cater to these things. Or you can participate here are discuss matters on a professional level and in a professional manner. Link to comment Share on other sites More sharing options...
Premium Member Stephen Williams Posted January 18, 2006 Premium Member Share Posted January 18, 2006 I think just as long as you have nice sharp lenses, pin registration, fresh stock and baths- Hi, You don't pin registration except for multi pass or composites, even then some cameras are totally steady without pin registration. Most effects material is stabalized in any case. Stephen Link to comment Share on other sites More sharing options...
Stuart Brereton Posted January 18, 2006 Share Posted January 18, 2006 Last time you started banging on about 'Pig cops' you were asked to show some respect or get lost. The request still stands. Link to comment Share on other sites More sharing options...
Chris Fernando Posted January 18, 2006 Share Posted January 18, 2006 (edited) I think just as long as you have nice sharp lenses, pin registration, fresh stock and baths I prefer showers myself. They don't leave a trace when the pigs come-a-sniffin'. ;) Edited January 18, 2006 by CMPhern Link to comment Share on other sites More sharing options...
Leo Anthony Vale Posted January 18, 2006 Share Posted January 18, 2006 I think just as long as you have nice sharp lenses, pin registration, fresh stock and baths- plus an array of pro lighting equipment such as HMI's and those lights they hang off crains for night shots.. you basically rival all professional cameramen. AND you don't get hassled by the man which happens to me constantely, the police hate movies unless they're pig asses are getting payed $50/hr to provide "security"- what a joke. *** yeah whatever, I like Heat-like bang-bang.Ooops! Did I say in public without insurance! My bad! I will respect the authoritay with my usual showing of hands and running. ---You can't shot and run, if you have all that equipment. ---LV Link to comment Share on other sites More sharing options...
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