25+ years experience as DP, editor, colorist and vfx artist.
As some one who makes money with their gear as my primary income… "I'll buy any piece of gear a client is willing to pay for" : Steve Kahn. read that about 20 times. gear has to have fast ROI, especially cameras. lights and audio work for years and top end stuff does hold some value for gear flip / upgrades.
that said, when better gear makes your life faster / easier / simpler and you can also generate more money from it, or not loose money because you don't have it. buy it. The low light abilities of canon C series has totally changed the amount of gear I take out on shoots, and the light levels I work at. I'd never go back to anything less.
t3i ? it doesn't have native ISO's and the images it makes are very noisy. I dumped mine only a few months after getting it when the 60D started shipping and never looked back. first job I shot in t3i I had to do noise reduction on several shots to make them usable at ISO "400". it was a painful camera to work with and the 60D was a no brainer at the time. Likewise I've crept my way up into C series cameras now… and I've sold my 60D's because the C series are just so much better to work with. real audio, real hand grip, real usable video shooting form factor, especially when shooting in very tight spaces like aircraft. great low light performance… and acceptance as meeting "broadcast specs" of all the networks.
so there are lots of times when gear upgrades DO make a big difference in how much easier they are to work with, and in the money they can make you… or loose you if you don't think it out carefully.
As some one is has actually worked in temps of -30F during production, it takes the right gear, the right mindset and ability to handle the cold. its not for everyone. so if you signed up for this, you'd best be able to handle the shooting conditions. its a challenge to say the least. gear prep, understanding you simply can not shoot as fast as you can at balmy 20F temps, ect is part of it. not surprised its taken longer than expected because of the short amounts of daylight available in winter that north. OTH it does force your production days to reasonable hours because when the sun is gone, you're done. Sounds likes a bunch of 75 and sunny types who just didn't really understand what its like and what it takes to do production work under those circomstances
oh great, another new standard. it really doesn't mean much. I think you guys should check out the new MOX format - MXF single file, open source, source code available, uncompressed / compressed standard codecs, 8,16,32 float. I contributed funding to it. intended as archive and working format, will probably show up in recorders cameras since source code is published…
I've been using this extensively for a while. the color saturation wheel makes matching skin tones from different cameras much easier. its probably the best part of the entire panel for shot matching.
However, round tripping with SG is an entirely different beast. in SG the PP lumetri panel shows up as its own *uneditiable* layer for now within SG, and you have a new standard SG correction layer above it. You can do all the usual SG things here and when done, send it back. when its back in PP however, in the Lumetri panel now shows a new "Speedgrade Special" uneditable control. check box to turn it on or off. Well what if you aren't quite happy with what you did in SG ? send it back to SG and the SG grade layer is now no longer editable. So basically **FOR NOW** its a one way round trip. if you need to say, mask a sky, apply a second lumetri layer in PP and mask the 2nd application with the PP effect mask tool.
for a TV series I'm about to start grading, we are staying on 2014 for now :(… or maybe PP2015 + resolve but thats not nearly as slick a workflow as PP<>SG. So if you normally bounce a grading pass thru SG 2-3 times like I do, the 2015 **CURRENT** situation may not be what you can work with.
what a pile of reeking pile of smelly stuff. He lacks ba_lls at this stage. you adapt to your shooting situation. I do switch camera profiles depending on daylight, nite ext, nite, int, ect. Your goal is to maximize gradation of capture at the time of the shoot so you do have options in post. Don't get me wrong, I'm ALL about getting it right in camera including use of diffusion, ND's ect to get the best possible image. What he is doing is basically slapping ISO 500 onto everything and sorting it out later.
I don't know why he is held in such "esteem" because there are plenty of other DP's who have done as good, or in reality better than he has done. I'm tired of the legacy BS. be judged on your last project or 2.
I love doing rehearsals with actors. its the first time you get to see your scene and dialog unfold. you can get rid of things that don't work, let your actors improve the dialog as they bring out their characters. there is so much to be gained by running thru scenes a couple times in rehearsal including the fact you aren't doing this while a full crew is waiting while you work it out during production. Ideally I try to do rehearsals in the actual production locations. while the actors work their lines, play around with the parts, hone it on what works, change what doesn't, it also gives me a look at shooting / lighting / sound and having a much better idea how I want to shoot those scenes.
when its production time you go in so much better prepared having far better idea whats going to happen. that certainly doesn't mean I still won't let the actors play a bit with their parts, but often because they have had time to think about the scene, they too have made refinements in their approach. Its when the actors understand the content, context and emotion of a scene that they will give you the best performances…and that doesn't happen without some rehearsal…and some trust in your talent they can bring good ideas to the scene too, especially once they are inside their characters.