Forum Replies Created
-
Replies
-
Forgot: I started as an AC, having only done personal short films prior. I transitioned to cameraman, DoP and ended as writer/director, which had been my dream from the beginning. Along the way I was occasionally thrown at different positions, including PA, boom operator, AD ect.
If you get your foot in the door, the rest will follow automatically.
● Yes, although it’s a bit different than experiencing an ‘established’ set.
● Depends on the role. For any creative position I’d exclusively look at their work. Other than that, enthusiasms and a good personality. A good personality has much more influence on your career than you might think.
● I don’t know but the majority of people I work with didn’t attend film school.
Thanks for the book tips Quadra, very interested in the first one!
It’s been a long time since I’ve seen ‘Stalingrad’ but I remember that I liked it.
To me the best German production until today is ‘Das Boot’ (1981) – of course another WW2 film, but genuine in it’s approach and realization, as they shot it in an actual submarine. (Recently an epsisodic remake was done and it lacked any and all of what made Das Boot so good)
Oh, I agree! I think the consequences you refer to are why George F. Kennan called WW1 “the great seminal catastrophe of this century”. I recently started refreshing my limited school knowledge about that complex, incredibly smoldering time from Versaille to WW2 and there’s so much substance and stories for films to be found.
Good to know.
As a German, I have a difficult relationship with my country’s film industry (decade long nepotism of public film funds and a lack of identity outside WW2 and Stasi/GDR themes are parts of the problem).
“All Quite On The Western Front” is one of the better films but I can’t help but remain critical. I didn’t like the changes in story compared to the original, as they added nothing and didn’t work for me. And the cinematography was inspired a little too much by others for my taste (a typical treat of German productions that try to do “Hollywood”); some night/fire/silhouette scenes were basically copied from “1917” in my opinion.
I may react too harsh though given my personal stance.
I’m not sure what made anyone believe that James and Roger lost interest in the site. They literally run it for us, not for them. Not a single ad. They answer every question.
This site to me has and always will be one of the very few, precious bastions in a shallow but screaming online world. Even after years I’m still in disbelief that these two industry giants engage with me at eye level, so…
Thank you James and Roger!
Personally I’ve never been on a set where all monitors looked the same but it might be different on higher end productions.
Try to get the DP’s and director’s monitors as close as possible. Same brand/model/ settings might help, check backlight settings for example. Btw budget monitors are looked down on but they improved a lot the last years and there are good options.
Generally I am of the opinion that small differences don’t matter much.
Intuition is the greatest ‘fundamental’ that I have, but it took decades for me to understand that and even longer to fully trust it.
As to camera knowledge, I think knowing how to best expose it is critical.
One difference between digital and film cameras is rolling vs global shutter. Although cinema cameras like Arri and Red have very fast readout speeds (<10 ms) your brain might still pick out something there if you can even see it at 24fps (I definitely can’t see anything odd in, let’s say, any Deakins/Alexa movie when watched on a ‘controlled’ screen).
There are instances where it’s justified to walk away if you’re working for free but it’s impossible to give advice from a distance.
Your safest bet is to give the best you can right n0w – simply because that way you will feel much better once it’s all over. But very hard to give advise without knowing the exact circumstances.
None of the cameras you mentioned has a better sensor and/or will give you better image quality than the S5.
I think it’s a bit harder to get V-Log footage to a good grade compared to REDraw or Braw, but once you found a way, the S-line sensors provide great dynamic range and color.
As already mentioned, a BMD VideoAssist or Atomos Ninja V will let you externally record Braw/Prores Raw for even better image quality.
