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EnsGDT posted:NBCU Upfront! We were there last year for it too, but I don't remember if you worked there yet then. Awesome! Was literally working on the grip/electric package yesterday for you guys and probably going to be doing that throughout the week. What are you doing on the job?
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Feb 20, 2014 16:21
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AccountSupervisor posted:Awesome! Was literally working on the grip/electric package yesterday for you guys and probably going to be doing that throughout the week. I'm currently wrapping as assistant coordinator on the LA side of things. I'm not really sure what I'm doing in NY yet. I think they just wanted to keep the paperwork and presentation of everything consistent for the client, so the producer is bringing me out. Plus I'm from upstate and have friends/places to stay for free in town haha. I'll probably be somewhere around set/office PA, or dedicated assistant to the producer while I'm there.
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Feb 20, 2014 18:33
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EnsGDT posted:I'm currently wrapping as assistant coordinator on the LA side of things. I'm not really sure what I'm doing in NY yet. I think they just wanted to keep the paperwork and presentation of everything consistent for the client, so the producer is bringing me out. Plus I'm from upstate and have friends/places to stay for free in town haha. Cool cool. Ill most likely be in the lighting shop as we have a massive 4 stage order coming in next week so if you find yourself near the shop feel free to stop by. You can ask for Mike M. If I happen to be making a stage run down to you guys though Ill ask if youre around. I dont know your name though so feel free to PM it to me if you arent comfortable posting it. Would be cool to meet someone from the thread!
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Feb 20, 2014 21:10
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AccountSupervisor posted:Cool cool. Ill most likely be in the lighting shop as we have a massive 4 stage order coming in next week so if you find yourself near the shop feel free to stop by. You can ask for Mike M. If I happen to be making a stage run down to you guys though Ill ask if youre around. I dont know your name though so feel free to PM it to me if you arent comfortable posting it. Would be cool to meet someone from the thread! Just look for a tall dude wearing a walkie that says George 
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Feb 20, 2014 22:24
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Cross posting this from the film business thread because I feel everyone involved in filmmaking should be aware of this: Just a little update from what I've been hearing from friends and colleagues on the death of Sarah Jones on the set of "Midnight Rider" (some of it first-hand). It is starting to look like it's gone way beyond an accident on the part of production. They were not supposed to be on the track at all and, so I'm told, production labeled the shot as a "camera test" (probably to get out of paying insurance). This also adds fraud into the mix. There was no EMT on set either. This is absolutely outrageous and insane. Everything about this incident could've been avoided and that breaks my heart. Very likely the crew was given all kinds of lies and assurances that production had taken care of everything, I strongly doubt anyone would've agreed to do this shot otherwise. Having said that, please remember that it is your responsibility, and even obligation, as a crew member to watch out for unsafe situations and that you really do have the right to say no! If you feel you're too low on the ladder to have a voice then rest assured, you are not. Talk to your heads and go to the 1st and let them know what's up (the 1st should always be on your side when it comes to safety, if he's not then walk away!), we have to watch out for ourselves and each other. I can guarantee you that it's better to be fired than killed so don't get bullied into crap like this. Sorry if I come off as ranting but I am so pissed off at this, this job is not worth getting killed over and productions are trying to pull off poo poo like this more and more for the sake of saving some money.
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Feb 22, 2014 11:40
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Cross post from the editing thread - my friend shot some stuff for a hats maker in Venice and I've been cutting down a spot for him. RED Epic is kind of cool. These shots were mostly 96fps but I decided I didn't like it as much, welp, and retimed them to 24fps. https://www.youtube.com/watch?v=zZdHM5WJPe8 These shots are all ungraded except for some minor color temp and exposure adjustments in redcode raw from inside FCPX.
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Feb 22, 2014 21:40
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1st AD posted:Cross post from the editing thread - my friend shot some stuff for a hats maker in Venice and I've been cutting down a spot for him. "Gorro - Our Hats Are Flammable." Footage looks great though.
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Feb 22, 2014 21:51
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Yeah the guy actually lights the hat on fire to give it an aged look. And this cut is by no means finished, but the footage gave me a hardon so It'll probably look 100 times better with a tighter edit, song that we can afford to license, and lots of time in Resolve.
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Feb 22, 2014 22:42
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What's causing the big color glare in the corners?
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Feb 22, 2014 22:58
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Old Contax lenses
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Feb 22, 2014 23:35
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That's awesome, because I instantly assumed it had those beat-to-death Tiffen DFX glares all over it but then I read it was ungraded. Looks cool!
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Feb 23, 2014 01:37
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I'm doing a black and white neo-noir short film at the end of the week and I was wondering if it's smarter to shoot in colour and then tweak it to black and white in post or to shoot it in black and white? I mean the former would give me a lot more flexibility but the latter will allow me to try to get the image as close as I can in camera and take away the distraction of colour. My Camera is a Canon EOS 600D, or Rebel T3i to you people, with magic lantern installed if that matters at all.
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Feb 25, 2014 01:34
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FreudianSlippers posted:I'm doing a black and white neo-noir short film at the end of the week and I was wondering if it's smarter to shoot in colour and then tweak it to black and white in post or to shoot it in black and white? I shot a movie on my T2i in black and white. Considered doing the shooting in color thing, by figuring out shots using the monochrome setting and then actually recording in color, but during tests I couldn't get used to it. Too distracting. Felt better to just shoot in black and white. It forces you to fully commit, and you get into a specific mindset that you might not otherwise. I think you'll enjoy it.
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Feb 25, 2014 01:45
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I usually shoot in color and make it monochromatic in post. On set I have an external monitor around with the picture desaturated all the way so I can see how it'll look.
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Feb 25, 2014 07:10
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FreudianSlippers posted:I'm doing a black and white neo-noir short film at the end of the week and I was wondering if it's smarter to shoot in colour and then tweak it to black and white in post or to shoot it in black and white? You have magic lantern, so you can make use of the separate preview/record picture styles. I did that on this promo video I shot: https://www.youtube.com/watch?v=F5jp2L2TViQ I had the live view preview image on black and white and high contrast so I could light and expose the image for the final image, then recorded on cinestyle to get maximum dynamic range and colour information. That was with a 550D and magic lantern. Worked perfectly.
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Feb 25, 2014 11:58
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EnsGDT Im curious if you could answer something for me. We have been scratching our head all week trying to figure what you guys need twenty 20k's for. Especially for stage 11, which is a small stage. Thats A LOT of light for that stage.
AccountSupervisor fucked around with this message at 21:52 on Feb 26, 2014 |
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Feb 26, 2014 17:56
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AccountSupervisor posted:EnsGDT Im curious if you could answer something for me. We have been scratching are head all week trying to figure what you guys need twenty 20k's for. Especially for stage 11, which is a small stage. Thats A LOT of light for that stage. I'm NDA'd out my rear end but 1000 fps on the phantom should explain most of it :P
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Feb 26, 2014 19:38
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EnsGDT posted:I'm NDA'd out my rear end but 1000 fps on the phantom should explain most of it :P Ah, I figured it had to be something high speed. I can't even imagine how hot its going to get on that stage if they have them all struck at once.
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Feb 26, 2014 22:06
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AccountSupervisor posted:Ah, I figured it had to be something high speed. I can't even imagine how hot its going to get on that stage if they have them all struck at once. I was here last year when they used an even bigger lighting rig and honestly it wasn't that bad. poo poo, all we have to do is open the elephant doors for ten seconds and let the polar vortex sweep over us haha
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Feb 26, 2014 23:39
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EnsGDT posted:I'm NDA'd out my rear end but 1000 fps on the phantom should explain most of it :P That's a lot even for phantom. Even if it were 1500.
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Feb 27, 2014 07:24
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Is that really 20 lights at 20,000 watts each? Lighting isn't my thing.
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Feb 27, 2014 12:34
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SquareDog posted:That's a lot even for phantom. Even if it were 1500. If I remember correctly, they're not all necessarily on at the same time. They're banks of lights. thehustler posted:Is that really 20 lights at 20,000 watts each? That is accurate. I'm not sure what voltage they're globed up for, but that be either ~3700 amps, or ~1900 amps, if my math has not mistaken me? Either way it's a lot of juice.
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Feb 27, 2014 13:31
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thehustler posted:Is that really 20 lights at 20,000 watts each? Yup! If you pointed those at the same spot, would that be equivalent to a 400K??? Or does it not add up like that?
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Feb 27, 2014 13:53
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Greenplastic posted:Yup! It's 20k at the source and it drops off pretty quickly the farther you get from it I believe. Or is that lux?
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Feb 28, 2014 02:03
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lux/foot-candles would be the brightness, 20k is for the wattage of each light. Assuming they're tungsten fresnels, the Mole Richardson website says 100 amp max at 240 volts. Assuming it's full spot, the lamp will make a 5-foot wide, 4465 foot-candle spot at 25 feet away. So 89,300 foot-candles if you point them all at the same thing. Direct sunlight is about 10,000.  I googled a lot of this pretty quick so it might be off, I have no idea what diminishing returns you might get on the light. I've never worked with a light bigger than a 2k I think. The only studio in town that might have lights that big would be Microsoft studios, and I think I only remember seeing 5 or 10k moles there.
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Feb 28, 2014 02:45
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We just got a set of 2K lights and I thought they were good.
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Feb 28, 2014 09:34
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A friend worked on a feature where they used a 100k rigged on the ladder of a decommissioned firetruck to basically light an entire small valley from a hilltop. Sounded pretty awesome!
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Feb 28, 2014 11:40
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You on any of the stages today EnsGDT? Ive had to make like a million stage runs for you guys this morning and I figure we must have crossed paths by now. Im in a big red jacket, Ive got a beard and a curly ponytail and youve probably seen me frantically zooming around the lot in a golf cart or yellow little transport cart. It looks like you guys have your offices up in 14 so I figured you might be in there.
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Feb 28, 2014 18:02
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Heh, so Canon put out an upgrade for the C300 that enables dual pixel AF. It's only $500! edit: needed a  there
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Feb 28, 2014 18:08
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AccountSupervisor posted:You on any of the stages today EnsGDT? Oh I definitely saw you. I'm in the stage 11 production office, next to the bathroom haha
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Feb 28, 2014 19:18
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Philip Bloom just posted this about his C300 heh: "So my C300 is dead and apparently according to Canon servicing "beyond economical repair" due to water damage caused by condensation. Wow. Is it covered by my insurance? I don't know yet. I hope so as I certainly do not have £10K to buy a replacement and I still use it a lot."
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Feb 28, 2014 20:04
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Welp, take back everything I said, gently caress Canon.
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Feb 28, 2014 20:25
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Some free JCVD greenscreen footage to keep in your back pocket. Andrew Kramer/Freddy Wong cameo too. http://www.funnyordie.com/videos/1f1fa1bf23/jcvd-s-make-my-movie-challenge
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Feb 28, 2014 20:32
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BeavisNuke posted:Philip Bloom just posted this about his C300 heh: How do you end up with a camera breaking down due to condensation in the year of our lord 2014? I mean, only time I've ever come across a camera malfunctioning due to water was when I had a Panasonic DV camera in the rain for two hours, and even then all it took to get it to run was to open the cassette lid and blow some hot air in it. With 5D's etc I've seen guys run around in a drat nigh blizzard with no rain cover during the shots. That damage requires some serious misuse or a defect/weakness on the camera build itself, right?
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Feb 28, 2014 22:51
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I'm going to go with serious misuse. Nobody throws a temper tantrum over a defect. Moreover, you don't put a camera anywhere remotely close to a wet environment without understanding that you run a significant risk of ruining it. If condensation builds up on the camera body and you think that's just normal use and keep on a-goin', I got news for you, it's not Canon's fault.
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Feb 28, 2014 22:58
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Guys, guys, there's no reason it could be both.
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Feb 28, 2014 23:03
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We got absolutely slammed today EnsGDT so I couldnt pull myself away for a sec to say whats up. Good luck this weekend though, looks like you guys have quite a lot going on! You guys will be done by this weekend Im assuming? If youre still here monday Ill see if I can stop by.
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Feb 28, 2014 23:30
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AccountSupervisor posted:We got absolutely slammed today EnsGDT so I couldnt pull myself away for a sec to say whats up. In that case I'll see you on Monday
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Mar 1, 2014 00:03
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drat, last time I worked miro we had 100k total of Tungsten units (a ton of 12ks, spacelights, 5ks) for a 500fps shoot. Trust me it felt like death valley in that bitch  20, 20k HMIs are no joke. I'd love to see what the distro run looks like.
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Mar 1, 2014 16:54
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zer0spunk posted:drat, last time I worked miro we had 100k total of Tungsten units (a ton of 12ks, spacelights, 5ks) for a 500fps shoot. Trust me it felt like death valley in that bitch They're tungsten! And there's DMX running to all of them, with dimmers and a board op. G+E had a three hour pre-call to get a head start on the rest of the crew haha.
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Mar 1, 2014 17:15
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