What camera would be best for me when it comes to color grading?

[Brian Drysdale]

Depending on the circumstances for them not turning up, don't employ then again. If the cause was their lifestyle, that's another reason to think again about using them.

DPs will match in with the style of the previous DP, that's part of the job. The original DP should leave notes on the lighting etc.

[Ryan Elder]

Oh okay sure. I have never used people again that didn't show up, so far. I can do that then and rent, hoping everyone shows up, for all the dates, if that's best. It's just the rental stores have been so booked up when I tried before, and just bought in the past, cause those were the days people were available. But maybe renting will work, as long as I can get it all shot in maybe a few weeks in a row, rather than spreading it out more.

[Brian Drysdale]

If spreading it out with a day here and there, you're more likely to run into difficulties with rental companies, especially if you're booking at short notice. Although, I've never had many problems renting gear for a single day at a days notice.

[Ryan Elder]

Oh okay with the rental store where I live, you usually have to book at least a month in advance in my experience, which is fine if you want to wait that long, but if people are available sooner, I kind of figure why not...

[Brian Drysdale]

If you're shooting a feature film, you should be planing at least a month in advance of the shoot.

Renting makes sense if you're using the more expensive cameras, less so if you're using the cheaper cameras, like DSLRs or the BlackMagic pocket cinema cameras, because they have a shorter rental life than the expensive cameras, Renting allows you to access the higher end cameras and lenses,

[Pete Cofrancesco]

I stumbled upon Indie Film forum and this guy (Harmonica44) was trying to make the same movie 5 years ago. Warning he has over six thousand posts! He does sounds very familiar. lol

https://indietalk.com/threads/how-ca...7/#post-405876

https://indietalk.com/threads/what-c...4/#post-413970

[Brian Drysdale]

Yes, it looks very similar, with the same use of words and thought patterns.

Writing posts on forums seems to be a substitute for the actual process of making a long form film and yet, seemingly, not learning.

[Pete Cofrancesco]

https://indietalk.com/threads/questi...81/post-415829

It’s a repeat of what’s been going on here.

[Brian Drysdale]

Since both come from Saskatoon, I would be very surprised if it was anyone other than Ryan.

[Pete Cofrancesco]

He is very frustrating but at the same time I feel bad for the guy.

[Josh Bass]

I think that sums up the last year or so on DVinfo.

[Brian Drysdale]

As previously mentioned Ryan is on a spectrum, possibly Asperger Syndrome.

[Ryan Elder]

I apologize if I asked too many questions or was being too picky or worrying too much. I can just look for a DP and him/her and I can make the decisions from there, if that's best.

[Paul R Johnson]

Ryan - so much of what people post goes right over your head, or you read it and dismiss it.

That other forum where you're posting virtually the same stuff but to a different audience. Can you not see that every single person who interacts with you comes to the same conclusions? Instead of making movies, your real skill is talking about making movies.

Maybe I'm wrong, but I don't think you realise that you are stuck in a loop. You are making no progression - like the plot in Star Trek Next Generation, that had a similar plot for one story - an entire society who were stagnant, making zero progress. This frankly is you.

You really need to consolidate what you are doing and stamp a label on your forehead. Your recent posts are because you wish to buy a camera and a lens, and want us to confirm all kinds of things we find impossible. If, however, you really have proper, competent DPs willing to run your projects, and real Directors able to direct, plus actors of quality willing too work for free, why are you getting involved in the things you will hand over. Surely the credits will run "Produced by Ryan Wray" and then the other people with input get their credits. Why worry and why spend your money when the DP probably has their own kit.


You also need to understand when people are stating facts, or using examples. It never occurred to me, for instance that you would analyse my post and assume I really mean find some car headlights, or use real cars. What I meant was that you need a silent and very bright light that will work at a distance. So - 12V car headlights, low voltage PAR lamps - that kind off thing that can work off car batteries will throw light at an actor from a distance and leave the rest of the frame dark - if that really is what you want. A mega sensitive modern camera can use ambient light at night to illuminate your 'set'. You take everything literally - and we don't speak like this, especially when you frustrate us with your "so you mean ...." responses, which usually we don't.

You want too make movies, and you want too do everything yourself, and you struggle to communicate ideas to us. Maybe your actor group have identical frustrations and maybe these are what make them cancel?

Have you considered that you could be the director from hell - difficult or maybe impossible to work with. Unable to move quickly, unable to make instant decisions, but very happy to spend hours discussing the tiny detail? If you really want to make movies, you have got to stop dithering and get on with it.

Of course you may buy something and hate it - that's how it is. three grand is a sizeable sum, but can be wasted in a flash.

Have you considered why your current equipment is beyond it now? What do you want it to do that it cannot. Please don't say anything about the lens - because frankly, we never understood why it caused you so many sleepless nights. Somebody who really IS a focus puller would hate it, but on a DSLR, do you actually need one? Why not just do it yourself if you are cameraman? You never even explored this.

If there are say 11 different roles involved in your movie making, how many would you now say you are master of, competent in, or struggling? We've suggested time and time again that you look at your skills critically and work out what role is really your best one, but you never ever do this - and keep adding new roles - like being a colourist which started this topic.

[Ryan Elder]

Oh sorry, it's just sometimes I find there are variables in the suggestions that may be problematic, so I want to address those variables, that's all.

And yes, I will hand them over to other departments, and not get credit for them. I just want to make the decisions that are made will work, especially since I am producing with my money and all.

When you say on a DSLR, do I actually need one, need what? A focus puller?

I don't think I am the director from hell. In fact I was told the opposite before, I was told that I get shoots done too quickly, cause I don't want to risk going overtime. But when I get them done too quickly, I was told is the reason why the performances and cinematography might not be up to par, cause I got the shoots done too quickly. So I am the opposite, and actually make decisions fast when shooting, or so I was told by others.