Re: Highend tools - lower end budget

Wow, I didn't mean to start a heated discussion. Maybe that's not a bad thing. Btw, I do have an ATI card in 8 core computer but I'm working on the progect this weekend on an 18month old G5. I was simply wondering if I could tweak the monitor here to get closer.

But this discussion seems to have hit a nerve and I'd like to adress that. Terrence, I understand where you are coming from regarding the quality of the tools we use. Your citing the proliferation of green and magenta faces re current in poorly executed reality tv is correct. But fundamental errors such as those could be rectified using the simple color corrector that resides within most basic editting programs. That is wholly atributable to a lack of vison or taste on the producers of thaose programs. As I mentioned earlier, the great majority of my work is done on 35mm film of which I've exposed millions of feet over a 20+ year career. I mainly work on commercials that range from the low to high six figures and occasionally seven figures, athough that 7 figure budget seems to be going away as the efficacy of the television commercial is re-evaluated. I've shot 65mm Vista on occasion. I whole heartedly appreciate the well crafted high end image.

But if I understand what you are saying I would reply that we disagree on a fundamental point. I hold a strong belief that we utilise the tools available to us. There will always be another piece of kit that could be utilised in creating a film but the final quality of the results aren't limited by the technology or budget. I compromise something on every project as the budget is the budget and I strongly believe that the project doesn't suffer for that. It's incumbant on me to make it work. The outcome of a project is limited by our vision and the application of the technology we have access to. For example, I have Leicas and Hassleblads and 4x5 to 8x10 still cameras but I've created some of my favorite images on a $15.00 Holga. Another example; I wouldn't try and shoot a high end car spot on DV if it calls for glossy, elegant and dynamic cinematography. However, if grit and texture and "edgy-ness" is necessary to make an emotional point then DV might be the appropriate call. What really matters here is learning to utilise the tools to hit the correct responsive chord. I did a Converese spot on 24p DV that wouldn't have worked as well captured on 35mm unless the image was severly degraded and treated. I for one, love the noise and grit in the DVX footage. For the concert DVD that initiated this discussion it is wholly appropriate. Dave Alvin has won Grammys and is very well respected and is a gritty down to earth guy. I was able to employ friends who are well estaplished DP's in their own right as camera operators who lent their personal vision and style to the shooting. the finished film has a life and a veracity that HD or 35mm wouldn't hav. I'm not saying it's better, or worse, it's just different and the limitations, i.e. noise/grain, etc. are what gives it the correct attitude in this particular case. Could I impose on my friends and ask for a CC on a Spirit? Yes, but I want to finish on my system and make the most out of it that I can using my taste amd instincts and educating myself in the process. I know that the technology is there so that I present a finished film that has integrity, both technically and aesthetically. It's up to me to learn all that i can in order to get the most out of it.

Hardware isn't the solution to the problem. It never has been. Go see "Once". Very little lighting as the budget wouldn't allow it. Does the film suffer? No way. The DP shot beautiful avilable light and night images which feel appropriate for the story. He used his skills and his amazing eye to make the most of what was available to him. Someone of lesser talent wouyld have missed the mark.

The solution is always artistic pre-visualisation, creative and appropriate solutions and matering the technology at your disposal. I think that this next generation of young film-makers are amazing because they are primarily focused on vision and posess a very highly developed technical accumen...they are auteurs in the true sense of the word. These new and highly accesible are breaking down the doors and opening all the windows.

I consider myself to have a fairly educated eye but what keeps me going is the certain knowledge that no matter how much I shoot I will never arrive at a place of true mastery...there's always something more to learn as a cinematographer. Cheers.


Joe Murray
DGA Dir./IA600 DP
http://www.boxerfilms.net/boxer.html