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C200 SMM - I got it

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    I sit in a place on files. Coming from 22mp hasselblad in 2004 I|m..

    Used to a file you can flex in post and have been dissapointed by video cameras since my first ex1

    Used to computers not being able to handle a decent file.

    Used the the T Base Workflow

    (hit a button.. go drink tea while the computer thinks about it)

    Brought up on stills film where every job happened in 36 frames .. Im a miser. and under shooter.

    These things make me somewhat prepped for shooting raw video. In fact the r6 h2654k10bit might be harder to play back.

    I think the file is detailed and subtle. But dont have latitude in the true meaning of the word.. ability to match two files of the same scene shot at different exposures.

    This whole little film I felt the 'bad' nikon (the 28/2 is literally crappy and scratcheda) did not match the 'good' canon glass and shows one the need to have a good check befroe shooting.. girl and church exposes variance in tone across lens unlike RnG chaos film where nothing needs to match. Because shot one is a man making a pizza and shot two is a girl riding a mountain bike.

    Of course progress helps .. I just boutght an 8tb drive for 150 at my local store.

    This film I exported DNXHD (1080) and editied that. One does need to get a handle on davinci proxy workflow if you have acraptop like me.


    About shooting.. Im getting very cynical in that I beleive most crew on a set can shoot as well as the DP. or could after a week of fiddling the settings on an Arri. Those people just they dont have the right sex, skin colour, family ties, and level of sexiness or got boxed as a soundie or art dept. (the required sex and skin colour changes month by month) As an unsexy white male Im knackered. Meritiocracy is myth. BTW Im not promoting white ness. The BSC is chronically white it makes me ill.. but Its not whiteness it is family ties, sexy club that is annoying.

    People hire grips because it is a small pool of people that dare dangle 100000 from a superclamp.

    I was litterally the last person in the UK to have a metal work room at school .. they threw it out after I left. A person happy with spanner or welder or lathe and a modicum of set sence is pretty rare. To grip good you gotta inderstand that the position of a lens is critical ..50mm makes or breaks a shot. So just being a mechanic or tractor driver doesnt quite fit the bill.

    On the set I think if the DP gets covid 80% of the crew could fill thier shoes. The chef, boom op, MUA, focus puller gaffer or grip.. you are a bit done if they are off sick. So what does that say about talent?

    You are in Oz ? I think the 'man culture' is still alive and many can wrangle a ratchet strap - here we can only handle a skinny latte.

    Good News.
    Ive just got on a Netflix film as assistant grip and the script is fights and car chases..(not a feelgood romance like my last effort) so that is awesome. and the DP wont be choosing the shots because he will get what budget allows and ill be building the shots so actually the power behind the throne. Ill leave the dp to do the tedia like guess an fstop. (2 its always 2)

 View my feature Film


      Being a below the line crew member is amazing as you constantly learn from great DPs. But as you gain knowledge, helping people work on projects where you're neither learning anything nor working under good conditions is the worst. I was doing lighting work and it became so obvious that I hated being on a set where I thought I could do a better job than the person shooting the project. This problem only happens for people who want to be shooting, where as it doesn't impact career Grips or career Gaffers etc, because there's no desire to change roles. When actually shooting it's also more enjoyable working with people who want to help rather than wish they had your job or constantly let you know how they would do things.

      That's great news about the action film, sounds like it's right up your alley for a mix of technical and creative.

      Yes in oz, in the local market here it seems like grips are a dying breed but it makes sense because the work is so hard and they're often a budgetary afterthought. But like you mention there's money to be made just by being the only person to convert a vehicle into a rickshaw just for filming or the only person confident enough to modify a porsche to use as a tracking vehicle. There are plenty of baths to go around too though, where you hear stories of people putting in for a techno crane and struggling to pay it off. That's why your movi/camera/medium sized grip equipment looks like it's a real sweet spot - not too big and not too small.