Cinematography thread: No film vs. video talk, dammit

The Something Awful Forums > The Finer Arts > Creative Convention > Cinematography thread: No film vs. video talk, dammit

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ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Just finished working as a 2nd AC and Steadicam op on an independent feature a few weeks ago. A whole lot of fun and I learned tons. Looking forward to my next big shoot.

This upcoming spring semester I will be in our advanced cinematography class where our awesomely cool french cinematography professor has secured us a Panavision 35mm camera with a Panahead and everything. I've been practicing on the cranks this semester and can't wait to roll some actual film soon. Our school has Fischer dolly already so we're set to shoot some poo poo. He also somehow managed to talk Fuji into giving us a couple rolls of their new film they just released (ETERNA Vivid 500, which looks incredible by the way). Along with that, we have a bunch of film from Kodak that he got as well.

So what I've been trying to figure out is what to shoot on the film we have. Each student in the class gets 400 feet of 35mm and 400 feet of 16mm to shoot with, and we have to make a 30 second to 1 minute short. I'm aiming for the simplest story possible, so I don't get bogged down in the classic film student quagmire of overtelling something. I might be back here in a few weeks to pitch some ideas for you all if you're okay with that. I love getting feedback on my writing and to see what others think. It's also mostly why I want to become a camera op and not a writer :P

# ¿ Dec 26, 2009 23:51

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# ¿ May 21, 2024 06:59

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

haha, I could do my best to cram in all the cliche's and see what happens.

but I would like your guys' eyes on the short I directed this fall - http://vimeo.com/7320034

There are number of things I didn't do so well on (as I'm not a director, but that was the assignment), but overall, I'm happy. My short was actually a lot of testing and workshopping of equipment and workflows for the independent feature I worked on. My biggest critique is my main actor's acting, and the opening scene's eyelines, which we didn't catch until post. Oh well.

This is the first short I've really done. I had a great crew and it came together well. I busted my rear end for about a 1.5 months in pre-production to make my 2 day shooting schedule, but it paid off.

ogopogo fucked around with this message at 03:16 on Dec 27, 2009

# ¿ Dec 27, 2009 03:10

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Dr. Fishopolis posted:

I'll second the critique on the lead, he really ACTED THE HELL OUT OF EVERYTHING. I AM ACTING AT YOU RIGHT NOW. ACTING. It worked in the first scene but he never let up. The kids were phenomenal though, especially the ones in the second scene. Great job with that.

I found the camera work pretty exhausting. Next time, give us an establishing master shot, OTS, some arty rack focus job, anything to break up the pacing. Just going from CU to CU to CU gets very claustrophobic, even exterior. I felt like it was a play of feet and faces without a sense of setting. That extreme shadowy wide was great, but it felt out of place in the edit. Everything from his house INT onward was pretty much straight up underexposed. There's a difference between "noir" and "i can't see anything".

That said, the production value was good, the score was good and the overall effort was very solid. Do more!

also don't forget the car trunk POV shot for your cliche list, i love that one

I pretty much agree on everything, though I purposefully underexposed the last few scenes. We designed the lighting scheme so each scene is dark than the one that precedes it. For some reason, a lot of my classmates over light the hell out of everything, making it very obvious that they're lighting a scene, which bugs me. As someone who would like to DP someday, I much prefer being a hair underexposed than overexposed. The darkness was something I really wanted, and I think it conveys the emotion of the scene well enough.
That said, it is darker than we realized because my editor cut on one of the new LED backlit MBP's that are really bright, which caused some problems. One a TV or on vimeo it does come off darker than expected. Definitely something I should have thought of in post, but that's why we do this - to learn

As far as masters and other wider shots, that came down to me simply not doing the absolute most important thing as a director - preparing a comprehensive shot list. i discussed at length the entirety of the short with my DP (who is also my brother) and i made the mistake of getting stuck on closeness, rather than a variety of shots. he urged me to shoot masters, but i chose not to in the interest of time and my own mindset (which was wrong, in the end). another lesson learned, as i definitely agree. We did shoot a lot of masters, but cut them in favor of getting closer to my characters. It was my call, and my responsibility. I now know to let people who know what they're doing to do their job. I didn't meddle as much as some people do, but I had a very specific vision and stuck to it, even though i should have listened to others in the end.

And my actor...oh, Lou. Great guy, I accidentally gave him a note on a Scrooge like feel and he took it and ran. I kept telling him to cut the accent by 50 or 75%, but he never did as much as I wanted. But, when they work for meal/copy/credit, you just gotta do your best

But yeah, this is why I like being behind the camera, and not working with those pesky actors. haha.

# ¿ Dec 27, 2009 06:05

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Dr. Fishopolis posted:

I gotta echo squaredog's confusion, how on earth could not having an on-set tutor affect whether you go to festival or not? Are you the producer on the project?

I'm curious too. I shot all the kids in one day on a Saturday. Got the parents to sign waivers and everything, and I'm square as rain for festival submission.

Working with the kids was interesting. Though I will admit that I had a kickass AD who managed them mostly. My two little leads were really cool and very on the ball. They were off book when they showed up on set, and I had only met them once before. Thank God for insane parents, I guess.

I cast the two little leads and then I went and talked to a local casting agency who was eager to help me because I was a student. Didn't cost me a dime and they did the leg work. They pulled together the age group and number I needed. Worked out quite well in the end. All the parents showed up, chilled out in the next room while we shot and were really cool all around. Parents of child actors are sort of crazy.

# ¿ Dec 31, 2009 05:46

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

I'm getting ready to shoot my first project on 35mm! The shoot is Monday night and I can't wait. It's for my cinematography class and we have a Panavision G-2 camera package. Should be lots of fun, I've been eyeballs deep in prep for two weeks now. It'll be a commercial for the university symphony, so it will lend itself to lots of beautiful colors and moves. Shooting on Kodak Vision3 5219 500T.

Anyone have any last minute tips or tricks?

# ¿ Feb 11, 2010 22:02

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Tiresias posted:

1. Shooting 5219, it's nearly impossible to gently caress up. I think it has something like 9 stops of latitude, including 6 stops over.

2. With #1 in mind, double check your light meter every time you hold it up. Make sure your ASA rating is set appropriately for your filtration. Everyone thinks they remember that, but after you gently caress something up, you ALWAYS remember to check the meter. So, skip loving up... check the drat meter.

3. Keep spare batteries for your light meter in your kit. You're shooting film, without a light meter, you're blind.

4. Old piece of advice: "Light the scene to your eye, then turn off half the lights and shoot." First time I shot 35mm, I overlit the first scene like a paranoid film student (because I was a paranoid film student). By the last day of the shoot, I was using practicals and shooting in the toe of the stock (Vision 500T 5279, a really gorgeous stock they discontinued).

5. Listen to your keys, they probably have some good ideas you haven't thought of yet.

6. Pay attention to your instincts. Sometimes, personalities aside, people aren't serving the production but rather serving their own interests. You serve the production, and if something won't work in the "look" you have envisioned, speak up. The buck stops with you.

7. Make drat sure your AC has prepped the camera package properly. Check the lenses for witness mark accuracy, no contaminants or glass damage, etc. Scratch every mag you're taking out, and clean them carefully. Most importantly, BUILD THE CAMERA in EVERY configuration you'll use it in. Don't assume everything is there for when you go into handheld mode. Don't assume the backup power cables work. TEST them. That's the difference between a working AC and a talking AC.

8. Don't even think of putting the G2 on a Steadicam.

9. Unless you're absolutely confident in your AC's abilities (your confidence should reach a max before the end of the first day, so you don't need to worry), double check the camera. Shooting 24fps? Make sure he knows and it's set as such. 180deg shutter? Check it. Film threaded properly, iris set properly, he's sure he's got his marks, etc. Get each other's backs, and after a few setups when you know he's positive the head is level and can tell you minutes left on the current mag, you can worry a little less.

10. Another old piece of DP advice: "Always follow the two 'makes' of cinematography: Make your leading lady look beautiful, and make your day."

Finally:
11. Don't be afraid of color temperature difference, don't be afraid of shadows, and don't be afraid to do your job.

This is great, I really appreciate it. I've been working with my AC's for the last 4 weeks, 4 days a week, building up the camera, threading it, and breaking it down. They're solid and I know they'll do great. This is all our first time on 35mm, so I'm sure the day of the shoot we will be a little nerve wracked, but they have cool heads.

And good words on the lighting. I quickly taught myself a few years ago to not overlight and it's proved enormously helpful. And yeah, 5219 has some insane latitude. I'm not worried about that

Honestly, I feel incredibly ready overall. My AD has been busting her rear end to get everything ready and it is. My crew is strong and I'm itching to get on the wheels and shoot this thing!

Thanks for all the tips, I'm actually saving them in a word document for later use

# ¿ Feb 13, 2010 19:12

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Sorry, but goddamn operating on the wheels is so much more fun than a fluid head.

spoiled now. shoot.

# ¿ Feb 28, 2010 02:47

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Season final of House shot entirely on a 5D - http://photocinenews.com/2010/04/08/house-season-finale-shot-on-canon-5d/

Huh.

# ¿ Apr 9, 2010 00:00

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

SquareDog posted:

Just a tool like any other.

Yup, agreed.

What is House shot on normally? I can't remember if they were film or not. I'm just imagining a 5D MK II body rigged with Panaglass on a Panahead.
I remember reading a very cool article in the ASC mag about Panavision outfitting a 5D MKII with a mount for their lenses.

# ¿ Apr 9, 2010 03:25

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

butterypancakes posted:

Trailer for the finale of House.

http://www.youtube.com/watch?v=yAaZZQhuyMo

Looks soft, very soft.

I'm wondering why they couldn't pump a little more light onto the set to stop down and cut out down on the super shallow DoF.

Here's a short I was involved in recently shot entirely on my Canon 7D. 35mm f/2 and 85mm f/1.8 lenses. Turned out pretty well.
http://vimeo.com/11437576

# ¿ May 13, 2010 19:03

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

butterypancakes posted:

Not bad, a little slow maybe. I'd have done more color work to give it its own look. Pure whites, correct mids and uncrushed blacks can end up pretty bland.

You should also never do anything like what you asked your actress to do at 2:37. I'm assuming that's a real knife.

She's my girlfriend, and a trained stage combat theater worker

She knew what to do and we took precautions as far as the camera and crew go.

# ¿ May 13, 2010 19:23

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

king of lunch posted:

I get that it is an old camera, I'd love the HPX-170 or AF-100, but I am really fond of the HVX and know how to get a half decent picture out of it.
I figure with the price being what it is I'll be able to pick up the accessories that will make it into a nice setup, including another card. I've luckily got an old 15" powerbook that I'll have to haul out of storage.

Hopefully I can snag this, wish me luck goons!

I've got a 32GB P2 E-Series card I'm trying to sell. $450 and it's yours.

# ¿ Dec 1, 2010 03:15

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

butterypancakes posted:

I've only ever used one inside on a smooth studio floor. There aren't any seams and I figured it would be a whole lot better than a doorway dolly. You know the client, there isn't a lot of money. We'll probably just live with some camera shake.

What would the microforce do for us? Just an easier way of zooming in to frame out the track?

If you can, sandbag the poo poo out of the dolly and the camera body. It'll help dampen any shake, plus the heavier dolly will make for smoother pushes and pulls.

# ¿ Dec 7, 2010 18:18

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

king of lunch posted:

Like I say above, I'm trying to stay within a budget right now, so I'm not going to say yes at this moment.
Heck, hopefully (for you) you've already managed to unload it! Otherwise send an email to fine@fineanddandy.ca and if I get to needing more recording space soon I'll email you back and we can talk then?

Sounds good. I still have it, and the offer stands to anyone looking for a 32GB E-Series P2 card. I'll let this float here for a few days before going to SAMart/Ebay.

# ¿ Dec 17, 2010 00:52

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

I got a call to be a DIT this weekend. I've got experience with P2 and CF media, and feel comfortable enough with organization and backups. I'm just wondering if anyone has any tips or tricks that will help me out.

No info yet on camera package and media type, but I hope to know soon.

# ¿ Jan 3, 2011 22:23

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

EnsGDT posted:

Anything I should know ahead of time? Other than that they are very heavy?

One thing that annoyed me about the kids I worked with at my school with our Fisher is that they never put the parking brake on when it was just chillin'.

Crabbing is tons of fun. Dunno what the camera package will be like, but make sure you put some sand on the back to help keep the weight centered. If the hydraulic for the boom arm dies and you don't have a plug to recharge it, you can hand charge it with one of the poles on the back. Lots of pumping, but it helps in a bind.

Dunno what your experience is with dollies, but if you get really good at pushes, pulls and stops, people will bow down at your feet to work on their poo poo.

# ¿ Jan 5, 2011 05:20

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Tiresias posted:

Me and 2 other guys did this: 40 feet of dolly track, 5 sticks of 8', traversing a trough/washout that was 12" lower than the two ends.

Still wishing I had photos of the track I built earlier this year: 4 sticks of 8', two 45's, uneven ground traversing sidewalk and grass.

Very nice. Great post. I remember last year building up 2 sticks of 8', a 45, and another 8' on the far side on a 45 degree angle sloping asphalt hill. Tapped the grip truck straight out of apple boxes to make that work. Killer part is that shot never made it into the final cut :P

# ¿ Jan 5, 2011 10:29

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Tiresias posted:

On one hand, I look forward to attempting to fly a 3D rig. On the other hand, I make bad decisions like that all the time.

I got to sit it on a James Cameron shoot a few months back and the two operators flying the 3D rigs looked brutalized. Even with maxed out Pro arms and the best sleds, 3D ain't light.

# ¿ Mar 4, 2011 17:04

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Tiresias posted:

A friend of mine is a stereographer and Steadicam op here in LA, and he says the thing that'll make 3D bearable for the Steadicam ops of the world is the Element Technica Neutron rig with 2 RED Scarlets. I think they said the weight still comes out to 40-45lbs (13lbs with no cameras) just on the top stage. Spider-man 4 is using a 3ality rig with 2 Epics, and probably weighs more like 50-55lbs.

Totally. While I'm not a huge fan of 3D, I am thankful for digital cameras getting smaller and better. I'm not a top steadicam operator (yet!), so 3D is nothing I have to worry about, but it's good to know that things are getting slightly easier.

# ¿ Mar 5, 2011 18:26

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Steadiman posted:

The two Epic rig is closer to 70lbs with the 3ality. PJ is using it on Hobbit too. It's not a lot of fun. Actually what makes 3d bearable is the SI2K. Slap two of those puppies on a light beam-splitter and stick it on a Steadicam Flyer and you're laughing through the whole 18 hour day. The quality is really good and the Cinedeck (aside from the software niggles) works pretty well to make it even lighter if used as your main monitor too. I have pictures of both setups if anyone wants them.

I love seeing rig setups. Post away please!

# ¿ Mar 15, 2011 17:08

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Had the opportunity to work on an Alexa shoot last week and my God, that is one sexy piece of equipment. Very easy to use.

# ¿ Mar 16, 2011 18:44

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Do you know Starling?

# ¿ Mar 18, 2011 05:18

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Steadiman posted:

If you're talking about Robert, yes. I've known him for many years. Once took a very scary ride down a mountain with him in his Hummer.

Cool. I assist for him every now and then and I swear he's shown me a picture of you somewhere. Thought you looked familiar.

The hummer is a beast.

# ¿ Mar 19, 2011 20:50

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Anyone going to NAB?
I'll be assisting Robert Starling at the Angenieux booth, showing off their new lens on his Steadicam. Come on by and say hello! And check out the slick lens, as well

# ¿ Apr 11, 2011 00:20

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Pretty sure I met Steadiman today

No idea if he knows who I am but I was that goofy tall dude with Starling!

# ¿ Apr 12, 2011 02:57

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

exponentory posted:

While I was prepping that there was an Alexa next to me that I got to play around with a little bit. http://i.imgur.com/EBrwl.jpg
I'd like to hear some stories of people that have used it!

The 24-290 is a badass lens. It's pretty much the go to lens for commercials shot on Alexa's around here.

# ¿ Jul 8, 2011 21:30

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Anyone have an interest in buying my Steadicam Flyer LE?

# ¿ Jul 24, 2011 22:08

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Selling my Steadicam Flyer 24LE over in SAMart

http://forums.somethingawful.com/showthread.php?threadid=3432390

Sigh.

# ¿ Aug 21, 2011 01:45

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Walnut Crunch posted:

The flyer, max camera weight is 19lbs yes? And that would be with the camera carrying batteries?
Toying with the idea of a steadicam for our kit, though it is a bit on the questionable side for us.

I've maxed my kit out to about 25 lbs. And yes, that includes battery weight, which I'd gather is in the 2lb. range, with both batteries on.

Here's a pic of it loaded up on my first feature a few years ago...

(apologies for the pretty sloppy cabling and such)
It looks like a clipper ship in this shot... The extra IDX brick on the camera was to power the CamWav Wevi HD Transmitter, as we weren't able to get a PowerTap splitter or something. I can't remember why, this was ages ago.

This isn't exactly recommended, but it flew and the shots turned out great. I found that the heavier I loaded it, the better it flew. So, when the wave of HD-DSLR stuff came, a weight plate/cage was super helpful in achieving a closer max weight.

I'm sad that I have to sell it off, as it's a nice piece of kit that has served me well over the years. Unfortunately, disc herniation really limits what I can do at the moment. I'm looking at it as an opportunity to really focus on my AC work and build that up until I can get back into flying again.

Like I said in the SAMart post, if you're seriously interested, we can work out a better deal than the eBay link. I'd rather this go to someone I sort of know (locals or goons) than an anonymous eBay person.

# ¿ Aug 21, 2011 18:44

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

EnsGDT posted:

I'm currently researching wireless focus kits and I've got three companies so far:

Preston
Arri
Bartech

Am I missing any that I should be checking out?

If you've got the money, Preston is the gold standard of follow focus. I love working with my op's Preston.

Bartech's are rad and a real workhorse, but higher up ACs sometimes scoff at them. I used a Bartech for 3 weeks on a feature and never had a problem. Jim Bartell is a super nice guy who'll make sure you've got everything you need for his gear.

I've never had a chance to work with an Arri wireless FF outside of NAB tomfoolery.

# ¿ Oct 8, 2011 19:36

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Tiresias posted:

C-Motion
Varizoom rebrands a wireless follow focus and sells it as their own.
Hocus Focus

I don't know if Arri is still making their WCU, I think they are working together with C-Motion for their next versions of wireless follow focus.

The Varizoom rebrand is a Bartech.

EDIT:
For $5,000, you can get a brand new Bartech and a Loon video M-One motor. Or, look through the steadicamforum.com marketplace for a used kit, and it'll be even cheaper.
Not sure what your schools budget is, but it's cool that they have a rig and are willing to get a WFF for it. I hope someone is focusing on steadicam and actually taking workshops in order to properly use it

# ¿ Oct 11, 2011 07:37

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Tiresias posted:

No it's not, it's by some company called Ravensclaw:
http://ravensclaw.com/products.html

Varizoom sells it. I asked a few questions at the Varizoom booth at NAB this year, and they were clueless.

Interesting. I was talking about this WFF from Varizoom: http://www.bhphotovideo.com/c/product/543239-REG/VariZoom_VZ_WFF_VZ_WFF_Wireless_Follow_Focus.html

Jim Bartell has even mentioned that it's his product rebranded. I wonder what's up?

EDIT: Seems as if that version is back ordered all to hell or something. I've been out of the loop on it for a while. Peter Hoare's HoFo is getting the pro treatment right now and looks incredibly promising.

# ¿ Oct 11, 2011 17:28

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

From the Dorkside posted:

I'm not 100% on whether or not it's appropriate to ask on here but do any of you guys know of any independent filmmakers with a film they'd be willing to submit to a film festival? My University is working pretty closely with the White Sands Film Festival in New Mexico and I thought maybe the film goons might know someone who would want to enter a submission.

One of my best friends just finished up post on his first feature film, starring Coolio. I worked on it with him and had a blast. Now he's just doing the festival thing and looking for potential distributors.

https://www.200kdirty.com

Any and all eyes on the film are good.

# ¿ Jan 31, 2012 06:36

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

From the Dorkside posted:

It seems cool, I will definitely tell the festival people about it/contact your buddy. If it's been in theaters they don't want it at least to me anyway. A weird policy. Oh, schmuckfeatures, that email was no good.

It hasn't been released anywhere at all, so it's clean. Maybe White Sands could be it's premier festival! Haha.

It's absurd, really. Coolio is such a weird, funny, and nice guy, but man...the dude is old and really out of it.

Anyways, thanks, and I hope something can work out!

# ¿ Feb 1, 2012 20:13

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

EnsGDT posted:

Well well well, what have we here?

I'm loader for a FSU thesis film this week. Should be fun!

What stocks are these? Film is a blast. Shot 35mm for my senior commercial project and loved it.

EDIT: link because it's the only thing I've ever done that's worthwhile - http://vimeo.com/22919651

# ¿ Feb 2, 2012 01:44

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

EnsGDT posted:

Gotta watch out, he's got that steadicam operator strength.

Very good at standing around and being a wiseass?

# ¿ Feb 27, 2012 22:57

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Steadiman posted:

You two smart-asses realize Steadicam operators pretty much all know each other through some degree and there's one probably very close to you, and your family, right now. We are all connected by a single call. Just saying :-/

Also...awesome pants!

Starling knows he's good at standing around, and Fletcher will tell you about how good he is at standing around, haha!

And Tiresias, are you still based in Vegas or did I dream that from NAB last year? Either way, we should go drinking.

ogopogo fucked around with this message at 19:09 on Feb 28, 2012

# ¿ Feb 28, 2012 18:53

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Just got the email saying that my SOC Associate membership is up for vote at the next meeting! Pretty pumped about that.

# ¿ Mar 7, 2012 23:37

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Tiresias posted:

Is your check gonna clear? Yea, you're in.

They cashed that bad boy last week.

EDIT: also, we're FB besties now.

# ¿ Mar 8, 2012 01:34

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# ¿ May 21, 2024 06:59

ogopogo: Jul 16, 2006; Remember: no matter where you go, there you are.

Anyone have experience if Alexa Data Manager?

I just got on as data wrangler for a feature and they're shooting Alexa (yay) and using this software for the media management. Usually when I manage SxS media I do a drag and drop and basic checksum for files (this is mostly on commercials) and log it all. This is sort of new territory, but having spoken to the data wrangler where the production is coming from, it sounds pretty straight forward and the shoot seems fun.
Just wondering there are any tips/tricks/things to look out for when using it.

# ¿ Mar 30, 2012 23:31

The Something Awful Forums > The Finer Arts > Creative Convention > Cinematography thread: No film vs. video talk, dammit

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