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Tim Tyler

Today's Office

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PS...above shot was lit by one bare bulb! Ceiling light is broke. I put same photo on another forum. Face and little table desk all burned out. Every venue and print may need their own post image. This image has +/- 20 minutes of post to make it work. With film / vid, you got to get it closer unless you got deep pockets for frame by frame retouching.

Edited by Daniel D. Teoli Jr.

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3 hours ago, Daniel D. Teoli Jr. said:

Last Thursday started on new documentary about an 85 year yodeler. 3 floors packed with 65 years of country music history. Still trying to figure out best way to shoot. This is his office he uses to make radio shows. No room for a tripod. My fat stomach is in the bottom of the photo.

RBM Project DD. Teoli LR .jpg

Looks like you picked the right lens for the room! Sounds like a worthy subject, looking forward to seeing it when it is finished. 

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14 hours ago, Satsuki Murashige said:

Looks like you picked the right lens for the room! Sounds like a worthy subject, looking forward to seeing it when it is finished. 

 

Thanks. Still trying to get some lenses. I've ordered a few Rokinon DS from BH for my Sony. They keep sending AS lenses. They have sent replacements a number of times. 4 lenses over 2 weeks and all wrong AS lenses. In fact, the budget for the film is mainly these lenses...on my credit card! Hope to get some lenses soon I can keep.

As far as worthy?

I think so, but just no telling sometimes. I've had projects I thought were important and little interest was shown for them. Other projects I thought were nothing, had big followings. That is the beauty of not having to work commercial. If you please yourself with your work, you are fine. With commercial work, you got to make $$.

Edited by Daniel D. Teoli Jr.

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15 minutes ago, Bruce Greene said:

How about using a mono pod instead of a tripod?

Maybe. Planning to try anyway. 

He took me down in the basement to show me how he plays his pipes to the steam heat furnace. I hope to shoot that in IR. I got IR video, just no IR light sources other than flash. That is something to experiment with. I can get IR lights, but I want invisible IR light. That is the iffy part. I don't need invisible for him, I need invisible for me and other candid projects. I figure I might as well shoot for the invisible light if I can.

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4 minutes ago, Daniel D. Teoli Jr. said:

As far as worthy?

I think so, but just no telling sometimes. I've had projects I thought were important and little interest was shown for them. Other projects I thought were nothing, had big followings. That is the beauty of not having to work commercial. If you please yourself with your work, you are fine. With commercial work, you got to make $$.

That’s true, it’s almost impossible to predict popularity. I am of the same mind, please your own taste when doing passion projects and make your peace with the results.

It’s also important to know your own tendencies. I have found for myself that I tend to resist making conventional choices up front, sometimes putting myself in a difficult spot and enjoying wrestling my way out. Sort of a ‘why not?’ way of working and backtracking if necessary. Picking odd lenses and aspect ratios, or sticking to a single focal length, picking difficult locations that are visually interesting, framing wider and lower if it’s pleasing, etc. 

I wouldn’t necessarily recommend it as a way of working for people who are still learning the basics, but I think after you’ve picked up enough craft to be able to guess correctly most of the time, it can be a way to keep your eyes fresh and stay artistically inspired. 

I’m currently producing a few spec projects with another DP friend, and I am constantly surprised at how ‘liberal’ my methods can seem to others. I guess my usual directors let me get away with quite a lot creatively.

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shot with Sofia Coppola today.. really nice lady and easy to work with, digital of course 🙂 

Screen Shot 2019-10-17 at 13.02.08.png

Edited by Robin R Probyn
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48 minutes ago, Phil Rhodes said:

Is she there for Lost in Translation 2: Really Lost in Translation?

Unfortunately not sir.. she's there for a Chanel gig.. 

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44 minutes ago, Phil Connolly said:

Wow you guys must be made of money. 

Yes well of course it costs alot more than film .. huge lighting rigs.. 3 DIT,s.. each of whom demanded their own trailer ..and only worked 3 hours a day.. we spent 3 weeks just getting a monitor LUT we liked .. we shot tests initially in  Svalbard ,Norway to get "clean air" and test the "Blue"..  but still I wasn't totally happy ....so we re shot all the LUT tests in Vietnam to get more "Green" .. and then flew to Tokyo with the HDD,s by Gulf 5.. so the electrons didn't deteriorate ..they do over time.. but as an Artist I feel it was worth it , it gave some magic ,some Tolkienesque , nay, ethereal , planetary ,unworldly essence .. of the meaning of film to mankind .. my work is done here ... 

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3 hours ago, Robin R Probyn said:

Yes well of course it costs alot more than film .. huge lighting rigs.. 3 DIT,s.. each of whom demanded their own trailer ..and only worked 3 hours a day.. we spent 3 weeks just getting a monitor LUT we liked .. we shot tests initially in  Svalbard ,Norway to get "clean air" and test the "Blue"..  but still I wasn't totally happy ....so we re shot all the LUT tests in Vietnam to get more "Green" .. and then flew to Tokyo with the HDD,s by Gulf 5.. so the electrons didn't deteriorate ..they do over time.. but as an Artist I feel it was worth it , it gave some magic ,some Tolkienesque , nay, ethereal , planetary ,unworldly essence .. of the meaning of film to mankind .. my work is done here ... 

Is your sound recordist's digital wallet still heavy enough to use as a counterweight on a cherry picker?

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4 hours ago, Robin R Probyn said:

Yes well of course it costs alot more than film .. huge lighting rigs.. 3 DIT,s.. each of whom demanded their own trailer ..and only worked 3 hours a day.. we spent 3 weeks just getting a monitor LUT we liked .. we shot tests initially in  Svalbard ,Norway to get "clean air" and test the "Blue"..  but still I wasn't totally happy ....so we re shot all the LUT tests in Vietnam to get more "Green" .. and then flew to Tokyo with the HDD,s by Gulf 5.. so the electrons didn't deteriorate ..they do over time.. but as an Artist I feel it was worth it , it gave some magic ,some Tolkienesque , nay, ethereal , planetary ,unworldly essence .. of the meaning of film to mankind .. my work is done here ... 

I'd be nervous about archival stability though. I would budget for a film out. Then you can save money by editing on a flat bed rather then one of those pricy NLE's

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6 hours ago, Phil Connolly said:

I'd be nervous about archival stability though. I would budget for a film out. Then you can save money by editing on a flat bed rather then one of those pricy NLE's

Each frame will be chiseled into heat tempered porcelain ..covered with a carbon fibre polymer ..  copies will be made and deployed to various vaults around the world.. and one into constant orbit of a small planet, I cannot name of course ..  we had looked into film out as an alternative but found it to be prohibitively expensive.. after the sound recordists pay was taken out of the overall budget ..

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I have stopped using sound recordists on corporate talking heads, it's far too expensive.

We use inter titles and the language of visual cinema to get the points across. I made a training video for Toshiba in this way.  We just sent a cinema pianist to provide a soundtrack for all the internal screenings.

There is something magical about corporate strategy scored by 1920s rag-time. You should try it, it's way more cost effective.

I would have taken some BTS photos of the screening events, but I'd run out of glass plates.

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1 hour ago, Phil Connolly said:

I have stopped using sound recordists on corporate talking heads, it's far too expensive.

 

Yes, usually the dearest rental item is the lifting equipment or the security arrangements for their wallets.

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If you were to combine the weight of 100 sound recordists wallets in one place .. you would actually change the orbit of the planet .. and slow time by 1/100,000,000 of a second.. this is a scientific fact .. on this Coppola shoot ,we used the sound guys wallet to counter weight 4 18K HMI on a scissor lifts..  this is not unusual of course .. except that the shoot was actually all MOS.. he also consumed 300 donuts and his trailer was a total mess... leaving me to apologize  to Ms Coppola and made for some awkward post wrap conversation with the production manager .. I doubt I'll be called again as a result ..

Edited by Robin R Probyn
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22 hours ago, Bruce Greene said:

I see that this discussion has finally devolved to it's appropriate place. Humor.  Bravo!!!

 

Strange.  I believe I posted this comment in a different discussion.  But now, I don't remember which one it was!

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On 10/17/2019 at 6:09 PM, Bruce Greene said:

I see that this discussion has finally devolved to it's appropriate place. Humor.  Bravo!!!

 

Do you mean "dissolved"? Or maybe "decayed".

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Yesterday's office...

At work on Samson and Delilah : (L-R) Technicolor technician Paul Hill (foreground), assistant cameraman John F. Warren, head electrician Soldier Graham, director Cecil B. DeMille and cinematographer George Barnes.

 

Samson&Delilah George S.Barnes Cecil B.DeMille..jpg

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On 10/16/2019 at 11:47 PM, Robin R Probyn said:

shot with Sofia Coppola today.. really nice lady and easy to work with, digital of course 🙂 

Screen Shot 2019-10-17 at 13.02.08.png

I always hate seeing her die at the end of Godfather 3.

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22 minutes ago, Daniel D. Teoli Jr. said:

I always hate seeing her die at the end of Godfather 3.

I didnt  even remember that she did .. yeah she gets caught in the cross fire or something like that ..! ..  on the acting side I think she was probably happy the whole thing was over.. 

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