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#1 Jamie Metzger

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Posted 01 April 2008 - 04:40 PM

Hey SF team! How is everyone doing?

I wanted to check in and see what everyone is up to?

I see JB is getting some Si2k experience, which is sweet! I was at RED all last week learning the camera inside out, along with the work flow. I will be sub renting one in mid-to-late april as well.

Anyone else familiar with the RED yet?

Anyone have any work coming up that they can pass along?

Jamie
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#2 Alex Worster

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Posted 02 April 2008 - 02:32 AM

Jamie,

I've 1sted several jobs with the Red so far with several in the near future. So far things have been more positive than negative. Unfortunately I haven't gotten to see any of the footage yet but some stuff is supposed to be going through a film out so that'll be interesting when/if it happens. Did you have any specific questions? Although after a week at Red you probably know more than most about the cameras operations and workflow.
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#3 Jonathan Bowerbank

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Posted 04 April 2008 - 01:39 AM

Yeah, the SI2K idea was nix'd a week before shooting. Production played it "safe" by their standards and went with the F900R to HDCAM...blah!

I've been trying to make those connections with Red users/owners in the area. Made a couple, but nothing's happened yet. You guys let me know if you need a 1st or 2nd on a Red gig, OK?

;)
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#4 Jamie Metzger

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Posted 04 April 2008 - 02:04 AM

Yeah, the SI2K idea was nix'd a week before shooting. Production played it "safe" by their standards and went with the F900R to HDCAM...blah!

I've been trying to make those connections with Red users/owners in the area. Made a couple, but nothing's happened yet. You guys let me know if you need a 1st or 2nd on a Red gig, OK?

;)



might be helpful for you: http://www.reduser.n...read.php?t=7100
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#5 Satsuki Murashige

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Posted 04 April 2008 - 02:50 AM

Hey Jaime,

I haven't had any experience with the RED yet. There was a guy on the forum who was going to do a RED demo at the Academy a while back, but I never heard anything further from him. I know at least one RED owner/operator, don't think he's taken delivery yet though. How'd you manage to get to spend a week at RED and learn all that stuff? That's pretty sweet.

Work-wise, I just finished a 3 day AC gig on an American Eagle commercial a few hours ago. Other than that, work has been pretty nonexistent for me this month, so I've been trying to get things going on the creative front. I want to get a film society started where we would make collaborative film experiments like city symphonies, poetry films, etc. We'll see how that goes, send me an email if you guys are interested in joining.
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#6 Jamie Metzger

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Posted 04 April 2008 - 12:11 PM

I'm helping a friend out on a 2 day shoot in salinas on the 18th (that weekend atleast), would you or john b care to come as a 2nd or loader? BL4, should be easy from what I've been told?

Send me an email at jamiemetzger@gmail.com btw, so I have your emails.
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#7 Jonathan Bowerbank

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Posted 05 April 2008 - 01:31 AM

...I want to get a film society started where we would make collaborative film experiments like city symphonies, poetry films, etc. We'll see how that goes, send me an email if you guys are interested in joining.


Totally interested. If it's to be a not-for-profit, it might be kinda hard right now (FAF is suffering big time), but I really like the idea. We'd have to make it somewhat different from what Cinematheque does. They don't really push for experimentation, but rather screen what experimental films come their way.

This kind of thing was what drew me to SF originally, sounds like a great way for us to express ourselves as cinematographers. I've already started a project of doing motion picture portraits of various SF artists/writers/etc... And I'll need the motivation to keep building the film.
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#8 Pete Von Tews

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Posted 05 April 2008 - 03:23 AM

Just to throw this out to the SF people... I'm available to help out in any local production, especially one that shoots on film and has proper lighting. I would really like to get some more experience as I don't go to school, so its just book learning for me. And it would be great to meet more people that share the DP craft. I do great work, get things done and like sharing knowledge. Email me.
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#9 Satsuki Murashige

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Posted 07 April 2008 - 02:07 AM

Jaime, I emailed you.

Pete, what's your email? PM me if you'd rather not post it here.

Jon, I'm not familiar with the Cinematheque but what I was envisioning was a small band of filmmakers who would get together two to four times a month to plan, make, and screen collaborative experimental film projects. We would also show our own personal work as well, but the main focus of the society would be to retrain ourselves as young filmmakers (in the complete sense) by following the history of cinema and the great masters of the art form. I'd like to begin with silent cinema and understand more about montage, pantomime, physical comedy, story construction, b&w cinematography, etc. I'd also like to look at early documentaries and their relation to narrative filmmaking in terms of form - often, documentaries were more adventurous than narratives in their methods and paved the way for new filming techniques.

Basically, I feel that our creativity and joy that initially drew us to film in the first place is in danger of being corrupted by the nature of the industry that we work in. I've spoken to a lot of older guys on set recently and almost all of them seem jaded and not creatively fulfilled - I see worker bees and not artists for the most part, and that scares me because I also have felt my creative urge wane since I started working regularly in film. I still enjoy what I do, but I've come to realize that I want a greater creative outlet in my life. So the impetus for this project was partly thinking back to what I loved most about film school and what I would have changed - I loved a lot of my beginning production, editing, and cinematography classes where we shot Super8 or 16mm and watched our footage projected on a big screen in a dark room; I loved seeing 10-20 different interpretations of the same lighting assignment; I loved planning, blocking, directing, and shooting those assignments wherein I feel I've done some of my best work when I barely knew what I was doing; I loved watching classic films, especially the silents, and reading how and why they were done that way; I loved getting to work on the school's soundstage, learning new equipment, and getting to experiment with lighting everyone's directing projects. I loved the comraderie of being among a group of filmmaking peers and not being pigeonholed as the DP, gaffer, AC, grip, etc. I want to get back to that kind of innocence and create an environment where we can all grow as artists.

The other impetus was a great book I picked up recently called "Conversations with the Great Moviemakers of Hollywood's Golden Age", a collection of transcripted interviews done at the AFI by George Stevens, Jr. Hearing how movies were made by the likes of Harold Lloyd, King Vidor, Frank Capra, Rouben Mamoulian, and many, many others, I came to realize that Hollywood's 1st generation had an incredible amount of freedom to play with the medium of film, especially in the silent era. They also made hundreds of short films and dozens of features, meaning that much of their wisdom and knowledge came from practice rather than theory, and that the theories they did develop proved their worth through years of trial and error. I'd love to put together a list of some of their quotes and theories and devise some projects to test their theories out.

Anyway, money is always an issue but I think if we get really serious about this we could apply for non-profit status and start writing grant proposals. We should have a quota of a certain number of projects to be completed in a year's time and all that. We should also make sure that the ultimate goal of the projects is to have them screened for a general audience. I know what I'm proposing is ambitious and will probably take several years to reach this stage, but I think it'd be a great program with lasting potential for change as well as an excellent platform for our own work as individual artists. Let me know what you think. :)
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#10 Jonathan Bowerbank

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Posted 07 April 2008 - 02:28 AM

I've seen some of the same stuff. AC's who really are worker bees in the industry, so they develop other talents as outlets when they're not working working. Ironically, most of them turn to still and time lapse photography. But it would be nice to maintain filmmaking as my #1 artistic outlet. So I'm all for your idea, Satsuki :)

On average, I probably rent at least 1 silent film a month from Netflix. I continually learn something new with each German expressionist film, Russian propaganda film or domestic early Hollywood films. Just watched "Vampyr" a couple weeks ago, and was inspired by some of the dolly moves achieved way back then.
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#11 Anton Delfino

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Posted 08 April 2008 - 11:32 AM

Just to throw this out to the SF people... I'm available to help out in any local production, especially one that shoots on film and has proper lighting.


Yeah, me too - but only for the month of June. I'll be in the area for a couple of weddings and was hoping to jump on a few shows to stay in the flow. I'm mostly a grip and dolly grip, but also do some simple electric. If anyone needs a hand on projects, send me shout. I'd love to come out and work in the Bay.
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Glidecam

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Visual Products

Aerial Filmworks

CineTape

Paralinx LLC

Media Blackout - Custom Cables and AKS

CineLab

Metropolis Post

Willys Widgets

Technodolly

The Slider

Wooden Camera