Thomas Miller
1
COW Coin
Forum Replies Created
-
Yes, I thought it was very interesting, and well done. I appreciated the challenged of keeping their look consistent with a variety of crews that must of worked on it.
Tom Miller
Big Pictures Media
Denver, Coloradohttp://www.BigPicturesMedia.com
-
As far as the rest of your email, good for you for defending your position!
Yes, you are indeed a “Director of Photography” if you are in charge of the lighting and the crew. I think that Bill and I both were referring to the union title of “Director of Photography” – the one you acquire after climbing slowly up an apprenticeship ladder. This person would have ASC after his name (if he’s from the U.S.).
But I think it’s fair to call someone a “Director of Photography” if he or she is in charge of lighting and shooting a scene, or movie, or interview, or whatever.
To me it’s much more accurate than “Videographer”- which not only implies a format, but suggests a wedding or event person (not that there is anything wrong with that!)
“Cameraman” is sexist I suppose. “Camera Person” is too politically correct. “Cinematographer” is okay, but suggests that one is shooting on film to me.
The one I hate the most is “Shooter” – which is often thrown around in the news world. First of all a shooter reminds me of someone atop a bell tower killing a bunch of people. I live too close to Columbine for that to be my title. I’ve also done work with heads of state, and at least one president. I don’t want to even connect the word “shoot” with our work there. Not when I have to get screened by the secret service! Also, a “Shooter” to me implies one who uses a shotgun to “spray” his or her shots. I think of what we do as much more selective than that. If you go into shooting, even documentary shooting, with the idea that you are going to “spray” the room without any eye for what you want to shoot – just to fill tape or cards – then I guess you deserve to be called a “shooter.”
Anyway, I’m on a rant now. I think I might suggest a column to Ron in the next issue of the COW magazine called “What’s in a Name?”
Let me know if anyone has any other anecdotes to add to this, and I’ll try to roll it into the column.
Sorry, William, I never really addressed the issues of the room you need to light!
Tom Miller
Big Pictures Media
Denver, Coloradohttp://www.BigPicturesMedia.com
-
Yes, indeed I did DP the Elway section of that program. Which part did you work on? Small world!
Tom Miller
Big Pictures Media
Denver, Coloradohttp://www.BigPicturesMedia.com
-
Typo – I meant of course Vilmos Zsigmond. I don’t know about his brother Volmos…
Tom Miller
Big Pictures Media
Denver, Coloradohttp://www.BigPicturesMedia.com
-
But then what would be the point of having such forums, Bill? I think it’s interesting to have someone post their specific challenges out there to the world no matter what level they are. That’s why we are all here. As far as the DP terminology, I’ve struggled with that for years. Even though I’ve been lighting and shooting for over twenty years, I struggle to give myself the same title as say, a Volmos Zsigmond. But the reality is, like it or not, titles and positions these days are all over the place. Sounds like William (also a Bill?) is facing some kind of lighting challenge alone where he should have at least a crew of helpers – a key grip to worry about mounting the lights, and a gaffer to worry about what lights to mount, each with their own respective team members. But the truth is, some client has asked him to light this room – perhaps alone. And whether he calls himself a DP or videographer, he has a job to do. And it’s up to us COW members to help him. So all of that being said, I have no idea how you should mount those back lights to the wall. Ask a grip! 🙂
Seriously, you might be more concerned with your client’s claim of lack of insurance than anything. Mounting the lights to walls might be the way to go if you are using this room over and over again. Otherwise you can use well hidden c-stands. By the way, if you are “DPing” a pilot for a sitcom, why don’t you have a crew? Is this a teaser thing where they are asking you to work for free to show a sizzle reel to try to get a pilot sold?
Tom Miller
Big Pictures Media
Denver, Coloradohttp://www.BigPicturesMedia.com
-
I haven’t gotten my hands on the Af-100 yet, but am certainly intrigued. Hope to demo one soon.
Tom Miller
Big Pictures Media
Denver, Coloradohttp://www.BigPicturesMedia.com
-
We’ve had both cameras, and sold the 200. I think the 170 is a little faster. The lens is slightly wider. It has HD-SDI out – which is huge for me. I also like the menu design of the 170 better. The 200 is stouter, but also heavier. And of course the 170 lacks the miniDV tape drive that the 200 clings onto. I also found the 170 to be more ergonomic. Unless you need mini DV, I would definitely go with the 170. Also, I think of the cameras you mentioned it would be the best match for your HDX900.
By the way, please let me know if you or anyone you know is in the market for a Panasonic HD 1400 deck!
Tom Miller
Big Pictures Media
Denver, Coloradohttp://www.BigPicturesMedia.com
-
Please see my response in the Field Production forum.
Tom Miller
Big Pictures Media
Denver, Coloradohttp://www.BigPicturesMedia.com
-
Hi Daniel,
We also have a Panasonic HDX900, and frequently use our HPX170 alongside and get a pretty close match. The 170 is a newer version of the 200a. The most recent project we shot this way was a 2-camera interview for a CNBC doc on Franchising. We used the 170 for the OTS reporter shot / cutaways, and the HDX900 as the main camera. The chip size difference mainly comes through in the blacks and the depth of field. I just be sure the smaller camera has as much ND as possible in front of the lens so that I can open up the iris enough to create a shallower dof to better match the 2/3″ chip of the HDX900.
Tom Miller
Big Pictures Media
Denver, Coloradohttp://www.BigPicturesMedia.com
-
Eric, sounds like a very good decision! I have a pretty good handle on rates for professional crews – as that is exactly what we do. My best recommendation for what you are looking for is to ask for a 2-person crew (DP and audio person) shooting on P2HD or SxS. You are looking for an HPX170, or HVX200, or HPX300/370 package. Or on the Sony side maybe an EX1 or EX3. You don’t need to get in the world of HDX900 or Varicams for what you are trying to do. But many of those that own the higher end cameras, also own these smaller ones. These will in most cases be your best crews. Lean towards the broadcast TV crews that also do corporate productions, rather than the wedding videographer side. But this is a broad recommendation, as local markets may vary in terms of skill sets.
Expect to pay $1350-$1650 for a 2-person P2HD or SxS Crew for a full day rate (8 to 12 hours or less). Some crews will also do half day rates (5 hours or less portal to portal0 for about 2/3 of the full day rate. So that range is $900-$1100.
For one man bands, you are looking at less of course, but I think a 2-person crew would be appropriate if you have the budget for it.
By the way, these rates should include everything, lighting, and all. You might need to send them a drive for the footage download, or fly out with one.
As I mentioned before, often times the best crews can also serve as a field producer roll if you don’t want to or can’t make it to the location. We do that all the time.
As far as finding crews, check out ProductionHub.com, or Mandy.com, where you can search by location. Be wary of just googling, as some who are masters of making themselves show up on Google are not necessarily the greatest talent. Every state also has a local film commission with local crew listed in a production guide. Check out their credits and reels.
Another excellent way to go is to employ the services of an agency like Crews Control, or Crew Connection. You explain to them just once what you need, they will help you refine it, and then they will find the best professional crews for you at each location. They take their cut from us, not from you, so it costs you nothing. Call Cricket at Crews Control and tell her I sent you – (800) 545-2739.
Hope this helps, and let me know if you make it out to Colorado!
Tom Miller
Big Pictures Media
Denver, Coloradohttp://www.BigPicturesMedia.com