[Chip Johns]

Thanks Joe.

I’ll give it a try.
(Not to mean your not correct, but to mean, If I can do it..!)
@;-)

I’ll let you know how I fair.

Thanks again!

—
Chip Johns

[Chip Johns]

Hi John,

Sorry for the delay in Thanks.
I took your advice and suggested the Cannon HV30.
Sounds like a perfect camera for what she needs to do…

Thanks again for your time.

—
Chip Johns

[Chip Johns]

Yea. What I have read anyway, is since many are using dvd to view dailies instead of film- making sure focus is pulled correctly puts more of this responsibility on the editor.

If this isn’t correct, let me know … ?????

[Chip Johns]

Quote: joefeng Of course the DI is taken care of by the DP…It is the DP’s responsibility to set the look of the images, not the editor’s.

Just to clear up… I don’t believe we said that DI was the editor’s responsibility. (This was the point. That it wasn’t)

It’s interesting how on a film edit with NLE, the editor does not really take the lead in color decisions. When editing video, (NTSC for instance,) color corection is usually the editor’s responsibility.

As for the film vs. video editor question, I think it entirely depends on which definition of the word “film” you believe in. I believe that it refers to the art form, not the medium. So, you can be editing “video” and be a film editor, or, inversely, editing “film” and still be a video editor. 🙂

True, to a point, but if you are editor for a feature film you better know what you are doing. For instance, color isn’t an issue for the editor when working on a film, but focus is. It is usually the editors job to make sure that shots are in focus. If he gets it wrong.. Uhh Ohh ..!

—

IMO – Here is where it is important. Your business card is just for contact purposes- Use what ever title you are most comfortable with on your business card.. Your resume is where you explain what you do. And this is the information that is important.

[Chip Johns]

Quote…also eat a sandwich before shooting an event. Inevitably you are going to be shooting somethng when the good food is served and then whisked away before you can sit fown – if you get fed at all.

This is an interesting subject. I have in the past explained that “on your wedding day, I get started at 10 in the morning and go to 10 at night (or later) and this means that I need to eat sometime during the day. If you do not supply a meal for me I will need to get something to eat somewhere else and this will take my time away from your wedding.”

Make them understand that it is their responsibility to provide you something to eat. And, find out what it is in advance… (NOT a PB&J) You’d be surprised what some caterers will provide for Photographers and videographers. Make specifically what you eat part of the contract!… They need to feed you! If you wait until the day of the wedding, you are screwed…

I know this isn’t a problem for you since this is your friend, but this is something to think about if you do any more weddings..

[Chip Johns]

Just to add to all of the other great advise

Ask the couple what they want. Each couple has their own idea of what should be part of the video. Make sure you include these shots that they want. Also, just stay on your toes. Things will happen that will be good for you to get, only you don’t know they are going to happen.. Stay on your toes. Shoot as much as you can.

[Chip Johns]

All the Energy..!

I just moved to Savannah Georgia a few months ago. The homve of SCAD – Savanah College of Art and Design.
They have a film and television department and quite frequently I see a student crew out doing something. The other day there were a few guys and a girl on the beach, It was a little chilly but they talked this girl into going out into the water so that they could do some test shots. She did what she had to do. I was pretty impressed. These students do have a lot of energy…

Oh, and I loved the reel too.!

[Chip Johns]

Just something else to add. I have found that it is easy to get caught up in a self perception. What I start out with in my mind is funny, but what I end up with isn’t and I don’t see the difference. Always, have someone who isn’t working on the project determine whether what you are doing is working or not. Someone you can trust; and believe them no matter whay YOU think.

[Chip Johns]

Have you talked with the band director?

I remember back in highschool, I played timpani in the concert band. Our spring concert was recorded and a record was produced. The music that we used provided us the rights to do this.

Since the video is for members of the school’s graduating class, the rights may already be included with the purchase of the sheet music.

Start by talking with the band director.

[Chip Johns]

DI = Digital Intermediate.

Many Cinematographers are using the digital process to manipulate the color space of the film. For instance by using a certain film stock and development process you can create a desired look by using color in different ways, i.e. high contrast vs low contrast, vibrant colors, or even vibrance on specific channels, etc.

For instance if you wanted to have the three-srip Technicolor high saturated look, instead of using film and development to achieve this, you can get more control (kind of) by using a Digital Intermediate (DI).

In this way, a cinematographer may choose to use differnt stock for different situations, for intance, to give more control and then create the look with the DI.

A good article on this is from American Cinematographer January 2005 Issue on Color Space. Great Article.