Andy Sparaco's Lounge Discussions

Great job

Thank You

Alright. Alright. Alright. Impressive range of work!

I've been using a camcorder so far if you're wondering.

It all depend on your commitment. https://www.youtube.com/watch?v=XKFzEBf-K68

Spend another $700 and grab a GH4 - best bang for buck. It really changes everything, mirrorless, 4K, small, inconspicuous and easy work flow - if you already have a MFT you can bank on those lenses as well - yes you will want to get better glass down the line, but wide angle lens who cares? For CU and MED work I use a Nokton 17.5mm 0.95 (35 EQ) yes it spreads a bit but the look is novel and never had a complaint except from that one guy with a huge nose....

I have a BMD Pocket - selling it for various reasons: it's difficult to focus is the number one issue - this is not a walk and talk, run & gun camera. Even if you do like it prepare to spend at least another $700 to be functional as far as production quality. That $1700 is better spent on a much more complete and diverse Lumix GH4. Plus your money is better spent on a GH4 simply because it is buying you into the 4K realm and even if you don't see yourself needing 4K who wouldn't love the ability to scope and reframe any shot into a 1080 format?

Alle, you stated, "Some places are already saying they won't accept your material if it's not in 8K from June 2014. " Which places said that to you? I'm very curious since I find it an odd deliverable requirement at this time. Was the specification only for deliverables or did it also pertain to image origination?

DP's and gear are two separate things. The DP is not an appendage to the equipment. You bring in a DP based on vision, artistry, knowledge and experience. The DP then chooses the gear they will use to create the images within the parameters of the production. You want to know how to shoot a night scene, talk to DPs you know or ask generally or ask the DP you are hiring. As is the case when choosing creative people to work with you can usually decide if the DP is for you within 10 minutes of talking and night shoots can be part of that discussion. When you lock yourself into a camera before choosing the DP. you restrict the number of people interested in working with you. If you are shooting this yourself, then you know you can ask about things you are unsure of and get lots and lots of opinions.

Hi Chris, Here's a survey of gear used by different filmmakers, it's doc based but'll give you some idea: http://www.pbs.org/pov/filmmakers/2013-documentary-equipment-survey.php#...

Let me apologize for not delineating the types of productions I was referring to. As Chris’ original posting was in regards to a scripted production, that was what I was referring to, network scripted productions not documentaries on public television.

Since you're out where there's no constant power source...There's an old adage in Film school, "Get as many batteries as you think you absolutely need, then multiply by two."

With your budget I think shooting Day for Night would be a good option. It depends on how wide a shot you need.

Sounds great will do!

a painter tests his brush and colors on a separate piece of paper before using them on canvas...

Your card is going to be buried. Might have to change your settings in the CP to use RAM. 7200 is fine to stream video. You really should get another drive. Even a small 7200 for one direction and the other for the other direction read / write. 50.00 Newegg or pop for an SSD. I have 2 ssd's two hdd'ss 12gb ram and a quadro 4000 GPU with an i7 3750 Cpu and those files do drag a bit... Compared to others. Adobe forums will help you get your rig set up.

You are better off using Magic Lantern without using the Raw Hack. You can crank up the H264 data rate and use a constant bit-rate instead of the default variable bit-rate in the ML setting. Handling RAW files requires a workflow that is clumsy especially if you are handing off the data files after shooting. If this is a paying project you need to keep things simple and let your client see results as you go. Not so easy when shooting RAW.

You should look into Magic Lantern firmware hack. { http://www.magiclantern.fm/features.html } It is better to have two cameras then one. For the obvious reasons -you get twice the coverage with half the number of takes but more importantly -if one camera craps out -you're still shooting with the second.

I've tried Magic Lantern and it's pretty useful. We will have about 4 cameras available for the film. All Canon's, 2 t3i's, 1 60d, and a 5D mark II, although the main will be the T3i, because they others are borrowed for limited times. I think this will come out great if I can put it together. I guess I shall see. :)

If you are shooting with a mix of camera's use the 5D for wide shots-the extra resolution will pull out details in the wide shots. If you cut the 5D and APS-C cameras-7d/6oD/T3-4-5. The difference in sensor size will be obvious on screen. You may have to soften the 5d files in post to have them match. There are many advantages to Magic Lantern-Selecting CBR (constant bit rate) over VBR (variable bit rate). You can increase your data rate by a factor of 1.5 without much problem this helps the H264 files.- less aliasing and moriee. The zebra stripes and false color display for exposure and the focusing peaking-these features give the Canon DSLR cameras features you find on PRO camera's. If you shoot with two camera's you will make your editor a friend for life.

@Oriel - you are 100% correct. That's why outdoor multi-camera shoots are a big headache. In a studio setting, the cameras can be color-corrected (white and black balanced) so that the picture have the same colors, and "shaded" so that the light works best on whatever subject each camera is on.

@Oriel - That's another very valid point.

Honestly, that's half the fun. Trying to get the "professional look" on the indie budget. I've found some setups that work for the look I like to achieve but a lot of it comes down to personal preference. And the fact an actress scoffed, boo her. Show's her lack of professionalism for sure.

Don't worry about what people think, and it's not about the budget or equipment, but about the story and know how. You can do a lot with $3100.

Some people are definitely impressed by professional-looking gear. Of all the things you could spend money on that has very little to do with how good your project looks or sounds, clients I work with are always impressed by my $80 dummy slate with colored sticks.

Yes cinematography and production value matters, but in the end story is king. Don't worry about the actress too much. Do the best with what u got.

If the lighting could speak it might have something to say about your extra. She had the choice of leaving if she expected lights costing tens of thousands of dollars... it is not as if there are no other extras in NYC.

Nice work on "Subconscious" - Congrats!

Great trailer for SubconsciouS ... I would definitely go to see it. Good work Georgia.

Not to sound insulting but I saw your movie page and have never even heard of any of these film. Do not misunderstand me, I watched many of your trailers and these things are dam good. I want to see all of them LOL so where is they distributed? All overseas very little towns in the US, limited distr ? I have quite a few scripts that I hope means your requirements. Would love to learn more of your process. I work with a production company but love working with anybody to make films (by the way I am in Anchorage Alaska far too many people forget to say where they are located)

Subconscious has not been delivered yet. It's due to the distributors in AUG. It will be released thur a Lions Gate company in the US and Canada.

Monserrate... please proof read your comments before you send it in. I always have typos... unless I proof read.

So, the Investor can write off his investment in a film or other production now. Is this why investing in films were slow going the last two years?