FilmFellas Cast 6: “The DP Edition”
IMPORTANT UPDATE ON FILMFELLAS CAST 6 First, thank you for your concerns and calls regarding our cast members and the bizarre events which occurred during the filming of our Season Finale. We wanted to give you updates as they come in, however we have limited information. Philip Bloom's whereabouts and condition are unknown at this time and we have not been able to locate any friends for comment. Visit Phil's blog at http://philipbloom.co.uk/ I have posted our FilmFellas Season Finale video along with "Where in the World is Philip Bloom" for concerned fans + friends. Help us find Phil. Additionally, Steve Weiss is unavailable for comment and his whereabouts are also unknown. Jens Bogehegn is in critical but very stable condition and is expected to make a full recovery by morning. In the meantime, our Sales Director, Mandy Rogers is now running Zacuto USA as acting President along with the new VP of Social Media, Zacuto Sue. Due to these unforeseen events, we are sad to announce the ending of our FilmFellas webisodic series. As a farewell to our fans, we will be giving away FilmFellas hats as a parting gift for all your support over this last year. fin ~ Zacuto Sue LATEST NEWS: for the final chapter of "Weiss on the Run" + 'Where in the world is Philip Bloom" come watch the new [ critics ] promo "Justice" by Philip Bloom, filmed on location at Alcatraz Island. [ Spoiler Alert ]: do not watch this video unless you have seen the FilmFellas Cast 6 Season Finale.
217 Responses to “FilmFellas Cast 6: “The DP Edition””
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FilmFellas Cast 6: “The DP Edition” will feature an eclectic mix of cinematographers from all spectrums of the independent film scene: Robert Primes, ASC (Thirty Something), Trent Opaloch (District 9), Philip Bloom (If I were Prime Minister) and first time host Jens Bogehegn, Cinematographer/Producer of FilmFellas/critics.
The dynamics of such an award winning cast of major players brings forth lively round table discussions from a unique set of perspectives and diverse points-of-view. FilmFellas Cast 6 covers such topics as: creative freedom; the art of collaboration, maintaining the vision/direction of the film, the challenging DP/Director relationship, and cutting edge “game changers” and techniques in cinematography.
Jens Bogehegn (Cinematographer/Producer of FilmFellas/Critics)
Robert Primes, ASC (Cinematographer)
Trent Opaloch (Cinematographer)
Phillip Bloom (Independent DP and Director)
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Should be interesting.
Excellent, looking forward to this one, specially Opalock on District 9. What a great cast!
YES!
awww….pins and needels! I loved the undercrank track shot of the table being setup, very cool!
Great cast, looking forward to the new FilmFellas episodes!
I’m a huge fan of FilmFellas and I have been waiting for this one in particular for a long time. Every time I watch an episode it sparks an idea and I just can’t wait to go out and shoot. For someone like me who is just starting out, FilmFellas is a great resource. I can’t wait to see what ideas are unleashed with this cast of FilmFellas. Thank you Zacuto for putting out such great web content.
Once again – the gems of insight provide what I personally needed for the work I do. Especially “LIVING YOUR PASSION”
Thanks again for another insightful FilmFellas Episode
What is Success? Great question!
Hearing Robert Primes talk about “the amount of joy you have in your life” reminded me of the movie ground hog day, I love the direction he took it in. His point about “money” not being the fullfilling part of the creative process is so true. “What could you buy with all the money in the world that touches that”? Preach it Robert!
I love watching these webisodes because I’m very young and blessed to be working in Industrial Video work but I would love to break away and try something different.
Robert Primes money standards really touched me though. I really need to start shooting, producing, and acting in something I love.
As of right now, I “want” more money, but I know I “need” more passion.
Can’t wait to see a new episode.
By far my FAVORITE film fellas. Love the discussion about what sucess is and what passion is. I’m glad it wasn’t an “arguement” episode
This was fantastic! Hearing all this from working professionals is very comforting as I’m a Cinematography major that is nervous about going out and finding work.
I think Robert’s philosophy of success extends into a lot of other fields – even to those of us who are not in the creative field. Even in these difficult times when our attention turns from competitive wealth attainment to the fear of losing what we have, it still holds true.
I look forward to the rest of the series.
Andrew ~ I so much enjoyed meeting Robert Primes during this shoot and yes, I think he is spot on about “Living Your Passion.” Glad you enjoyed the first webisode & just wait until the next 4. ~ @zacuto_sue
Loved hearing what they thought success was. I think many of us in the creative fields want or need the money but we never really got into it Because of the money. (But I need more
) Gotta keep shooting.
One of the mose useful and inspiring episodes to date! Jens did a great job running the show. Definitly want this on DVD to watch a few dozen times and to stay inspired! -
I don’t want to sound like capitalist here but i think you can live the dream and make money. A nice mix of commercial, industrial, corporate, event, webisodic programming, etc. Mixed with working on short, music or feature work. It’s important to make money so you can sustain yourself while you work on your passion projects.
Well done fellas, where’s my camera, I’ve got to shoot something!
Great advise a really enjoyable webisode. “If you do what you love, you’ll get better” I agree 100% . Cheers guys!
I was hoping someone would chime in with this. I agree 100% with you on this Steve! You need to sustain and build the dream.
Capitalism is what its all about. If money is not in the equation, you are fooling yourself.
Thomas
Business guy & Filmmaker – “Living the dream”
It’s important to do what you love, but it’s just as important to make money! That is why I do a real mix of passion prrojects and bread & butter. It’s essential in this business.
Looking forward to the next one!
Steve – absolutely – there’s nothing wrong with doing what you love and earning a living from it. I’m of the belief if you do something worthwhile, both personally and professionally – and it benefits others in a positive way – then why not?
FilmFellas RULZ!
Thanks for all you comments everyone. Glad you are enjoying Cast 6 so far. Can’t wait to here what you all think of episode 2, realeased on Wednesday the 18th, about film schools. I Have mixed feelings about them as you’ll see.
Film shcool? I have mixed feeling about it. It’s nice to have a good basic foundation and core of like minded people you’ve met. You have to be realistic about work right out of school and still pay your dues. But is it necessary? I don’t think so. What do you think.
Great episode to wath! Typical old school and young school meet at the same table. Both have great stories and experience to listen to. I think it’s time to combine them in to a new filmschool. Bring on the experience to the you people and widen their experience so they can go multiple ways in the film business. Film is not the only thing out there. The internet shows us there are many ways to bring stories. Film people have to know about that, so they can work with that.
Film school is just like ‘driving lessons’….as soon as you have your driving license….you START to learn driving. So….people have to stay and keep learning….be flexible to the market….be flexible to everything in the business and use everything you can get out there to bring the product on the market. The Internet is a great way to do that! But still….the basics of the ‘old school’ are the bottom of the pizza.
Jens went to film school, I did not. The question is do you start working from day one and start learning on the job as I did and see where you get in four years, or do you go to school for 4 years and then start at that point. It would be an interesting test to see after 6 years who would be doing better. Remember one of them has a $150,000 tuition debt to repay.
At least once a week I get a call from someone looking for a job in production and my very first question is, let me see your reel. If they tell me they went to XYZ film school, my response is, “I could care less”, let me see your reel. All I care about is how good you are now, I don’t give a shit how you got to that point. I think other producer/director/employers think exactly the same way. We only care what skills you currently have.
The choice is yours.
Fantastic episode! I am at the point now where I am deciding whether to pursue film school and honestly with a few friends already in crazy debt from these places, I would rather use that 150K on building my own small production company. With the amount of online resources these days, I feel that its incredibly easy to learn on your own and network with other local filmmakers. Numerous real life contacts have actually come from Vimeo, so honestly I think if you need resources, they are out there and if you have enough passion, you can get where you want to be.
I started film school and a year into realized I was wasting my time and money. I switched from a BA to an Asociate degree because I was already in and felt like I needed to finsih with something rather than drop out. I took the rest of my college fund and bought equipment. Now I am working in the field, making money and getting better, while my friends are still in film school racking up debt. Film school is a waste of both time and money, and unless it’s AFI or NYU, no one will even care about your degree….like Steve said, it’s all about your reel…and who you know.
Work hard and learn as you go. The internet has a million resources to give you a better education than film school for FREE!!!!!!!
That’s exactly what I did Josh. Start a production company, did jobs on other peoples dime and learned as I went. One thing you can do, since you are getting paid for the jobs, is hire a DP who is very experienced and he will prevent you from making costly mistakes. That is what I did, I was a director and I hired a very experienced crew and didn’t really make lots of mistakes.
The problem today is that everyone thinks they need to be a one man band. That is bad concept. I only directed my videos, I didn’t shoot them, I hired a DP who hired his own crew and a Soundman who hired his own crew if needed. I had an editor who did the creative edit and then I went to a post house and had them do the On-line edit. Now, today you don’t need so many steps, but the concept is the same. Directors make bad editors (they tend to love everything they shot, whereas an editor is a storyteller and is interested in removing unnecessary footage)
You need to take your budget, section off how much you want in profit and from what’s left you hire your various helpers. Don’t try to do it all yourself or you will slow the process, hurt the process or screw up the process. You can’t be a pig when doing production, some of the money needs to be spent on good talent.
What I like about this path is that eventually you won’t work at Starbucks and shoot one indie film a year. You will have shot 20 or 30 paid projects a year as well as 1 indie project. But you will have gained a huge amount of experience over the Starbucks guy from being on set doing your paid work. Every time you do a project you learn, mine as well learn on someone else’s tab. Doing your paid work would theoretically give you the experience of working on your 20 or 30th indie project (obviously it depends on the type of paid work you are doing) I did a lot of documentary corporate work. But back in the day, this is what everyone did, start a production company that did what we called “industrials films”.
Thanks for the advice Steve! I definitely learned about the one man band deal and strongly encourage everyone from going that route. The best thing about the production company route so far is the experience on each shoot and how each one tends to get better and better. Also dealing with clients and knowing how to approach them is a valuable skill that filmmakers might not learn in Film School.
I think a combination of work and school is better. You get the best of both worlds. In work people tend to work ‘the old way’ and at school they learn the ‘new way’. Those two have to merge in people to bring new to the old and old to the new. Old is not bad at all….there is so much to learn. And while I use the word ‘old’, I’d rather use ‘experienced’ in stead. We need both in the future.
In my opinion this is the best what can happen: fresh students learn from the experienced and the experienced learn the new media from the students.
Just look at Philip Bloom…he worked with big camera’s. He saw how he also could make film with smaller…..he adapts and now learns us his combined knowledge about the best of both worlds. AND….there is so much more!
New students have to learn how to make promotion…use Twitter, Facebook, Blogs and other ways to promote…there is so much possible in the new world of media and don’t forget the portable media! It’s comming: Vimeo and Exposureroom on phones!
Once again – a great way to be a cyber fly on the wall listening to those in the know on this whole creative endeavor - Thanks Steve, Jens and the rest of the crew at Zacuto – you guys ROCK!
Just when i got the mail from the Mexican film school, telling me that i was not prepared to attend it, i listen to this video playing in other firefox window, saying “i dont necessarily think you have to go trough film school”
That’s so true, i dont need to go to film school to end up making feature films or having a job, i mean, i already have a good job making videos, and im just 20 years old, who knows maybe in the next 10 years with the internet i can be doing a feature!! thanks so much for this episode!!
Film school helped me become engrossed in the filmmaking process, and it fed my obsession. It also gave me the time to learn and work on films and videos on a daily basis. That said, I don’t think film school is necessary.
Robert Rodriguez’s expressed it best, he wanted to be a filmmaker, so he started making films. I think it’s that simple.
The more I talk with people and observe the world around me, I find that the successful people are the ones that actually “do” something. Few people actually bring their ideas to life. Be that editing, writing, shooting, designing, whatever. I think bringing concepts to fruition is an often over looked first step to being successful.
This is a very interesting topic that has come up in several film fellas. The depate on whether or not to go to film school. I only recently found my love for film, better late than never I guess. I am currently going to school to get my MBA and I have toyed with the thought of going to film school when i’m done. Not an easy choice when you factor the money into the equation. The fact that there are a lot of succesfull people in the business that did not go to film school, is a real eye-opener for me. Honestly, I am quite relived that it is not necessary to go to film school in todays world. Everything I know has been from online tutorials and hands-on experience. I am glad that people can make living from the information that they find on the internet. Once again FilmFellas has enlightened and encouraged me to keep pushing forward. Thank you Zacuto!
Good for you Michael,
unless you were raised by small business owners like Jens or I was.
Let me just add that I didn’t go to film school and had no internet in 1983, so it’s possible without the internet and without school. That being said, it’s not for everyone. Some people thrive in school and some are self starters. It all boils down to selling yourself in the long run. Everyone needs to be in sales in their life. Whether you went to film school or not, eventually, you have to sell yourself or your skills in whatever you do. So, maybe more important than film school would be business school
Propably one of the most discussed subject the last months for me: film school yes or not. I think it depends on what you want to reach and what you’re able to do with it.
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I never went to film school. I started 3 years ago from “how to capture this DV Tape” to where I am right now. Not near where I want to be in 5 years but on a good way. The question I ask myself every second day: would’ve it been better If I had spent the 3 years in school to learn everything from a teacher, spending the money to pay the depts or rather earning money with everything I’ve learned via the Internet and hours, weeks and months of trying, searching and creating to buy more gear (yeah Zacuto gear too
Well, I’m happy with the results and I’m happy that I did what I did the last 3 years. If you think you can reach your dream with film schoo, try it, but don’t rely on being teached: teach yourself! Only you can make good results and start to be creative, no one else can teach you creativity after you’ve finished school!
At least, you have to act and react what the client wants you to create. At this point, there’s no teacher who’s going to tell you how you can create awesome films and videos
Wow, incredibly well put Mario. Can one teach creativity, an interesting subject for a future FilmFellas?
Mario, I agree with you.
But I have to say, there is something you can only get in film school, which is a network of dedicated colleagues that will most likely stick with you your entire career.
I attended a media college and focussed on film and video production. No doubt I learned a lot, but also no doubt I also had to learn a lot of stuff that was completely irrelevant to what I’m doing today.
Now, three years after my graduation, I am a self-employed director/producer/DP (like you, let’s just call us filmmakers) by choice. With a lot of effort and dedication – and by collaboration with a network of former co-students from various fields – I succeeded, job by job, to become better at what I’m doing, being my own boss and earning a decent living. I know it would have been a lot harder without that network of people working in 3D animation, music composition, graphic design and in video jobs like myself. This network is tightly knit and I know who to trust and who not to trust – I am able to pull off a 20-crew-members commercial job just because of that great network, and I don’t have to rely only on recommendations by others. That is worth a lot and that is what film school was especially good for, in my case at least.
Think about your best friends: It is very likely that you know them from school. There is hardly any chance to really get to know somebody from single individual projects like commercials or even documentaries. You work with them, and then your paths part and might lead together some later day on another job. When you share such an intense experience like film school with somebody, you become friends with some people who share your passion. And that’s who you are going to work with, that’s were the really great teams emerge. (Take ideas like Google or Facebook – all were invented on college campuses by friends who worked as teams.)
In short: I wouldn’t have wanted to miss it because of the people I got to know and work with, not necessarily the stuff I learned there. You are right, you only really learn it by training on the job.
Very well put, Steve. I can’t blame many people being a one-man band though, I know it’s sometimes tough to decide on hiring somebody else to do your edits just because of the fact that this money could very easily be yours if you do it yourself. But you’re right, it takes much longer and it’s a very painful process to edit one’s own footage.
However, I have one recommendation: If somebody wants to edit footage that they have shot themselves (or been the director of), they really have to try and get some kind of distance to what they have just shot. That is, if the time allows it, let the raw footage rot for some weeks and forget about it. Then go back, review it, and start your edit. It’s just so much easier with some time between the shoot and the edit, it’s unbelievable. You see it with fresh eyes, ideally almost like an editor would who wasn’t involved in the shoot.
totally agree! you watched how your future colleagues work at school and that’s important for all your big projects: to know what they’re able to do. That’s what I miss kind of. I met a lot of people from TV stations (great people with skills) but it takes a lot of time to find out if you can trust them and from their site: if they can trust you!
like I said: I don’t know if it had been better.. I only know what I know right know and I’m fine with where I’m now. You too and that’s great!!
We should work together in future, trust me!!
just a few km away from each other
@Steve: sure! would be great what the Pros out there think about that subject!
BTW, great FilmFellas Episode! Can’t wait to watch the next one!!
Location, Robert brought that up right away and I feel that’s the biggest part about film school. I did not grow up near any major production cities like a LA or NYC. Where would I have been able to get the gear and crew together to better my abilities of being a DP without going to a school where people were coming to do the very same thing as I was. With no true reel, me jumping into LA trying to learn on the go would have gotten me no where.
Also for those who are looking at schools, you really need to know what you want to get out of that school and see if that school works for you. My school has a very strong Cinematography program and that’s why I picked it over several other schools that had “film” programs. As with any college you need to do your research and know what you want out of it. Any school will be happy to take your money but you have to be ready to take back from that school something that will move you forward in life.
I taught in a local Film school in the 90′s and students would be dissapointed to learn that the process of film mamking was much harder that what it seemed to be. I use to tell them that the best way to learn how to edit (besides practicing) was to READ. Read anything, for they would form visually the text that was in front of them. Some of them took the advice. This is a never ending process where creativity is king, I dont believe you can teach art direction and or creative thinking. You are born with it and by being curious (and being in an environment) you aquire a definive trend. A lot of the stuff I see today is more of the same, the tools available is making it easier to copy and recook a look, but very seldom you see a unique look.
I spent years in Canada working on no money projects, with very few resources available, but I learnt that passion is a scarce comodity. People were passionate about the process of film making. The DP was keen to learn more about art direction, the director was always intersted on the abilities of the lensing, etc. However back in the US, I feel that some people are more entrenched into making the money and so they cut something very fast, overlook dialogs, shoot thinking of Magic Bullets looks in post.
Of course you dont need to go to Film School for that, but does that brings the standard up to the level of Wexler, Stottaro or even Frankenheimer?
Thanks for the comments Steve. You know, you bring up a very good point. I have been in sales and marketing since I graduated with my undergrad so that’s all I know. You are right about how everyone needs to be in sales. It doesn’t matter what you do, you are always selling yourself, and very few people understand that. I did grow up in a very entrepreneurial house so I can relate to you and Jens. My dad preached the importance of sales and how to sell your skills to other people. It is kind of refreshing now to take a small break from all that and just create. It has been a lot of fun for me and merging those skills into something that generates money has been an interesting journey. I really admire what you and Jens have done with the Zacuto brand and how you have taken a passion and created a viable business venture. I hope to one day be able to do the same, because I see endless opportunity in the Film and online media industry.
What’s everybody’s hurry? Go to film school. Study the masters. Meet amazing people. When you graduate at 21 or in my case 25 you can hit the pavement running with a degree! With maturity and knowledge. Some of the best painters I know graduated from Art School with a BFA, gone on to get their masters. Why? All they needed was a brush and some paint. Because they wanted to learn… they took their craft seriously. Yes, doing is learning – but sometimes it really helps to be in an environment where someone can expose you to new things, ask you the tough questions. My cinema studies classes were a revelation! I wrote my first screenplay. I even took an acting class AND I made movies. I also met amazing talented interesting from all over the world.
Having said all that – I understand Today’s climate is quite different than even a decade ago. It is expensive (I put myself through NYU) still paying off today! And I don’t think you need film school to be successful – that’s for sure. But for me it was a tremendous experience.
I might add that if you love what you do – you will find a way to do it. Film school or no Film school. Just do it well!
Oh and GREAT episode guys!
One question: What was the name of the school Robert mentions about 12:38 in?
Bob’s referring to the American Film Institute, which he teaches classes at. You can find out more information about their graduate program here: http://www.afi.com/Education/Conservatory/default.aspx
Go to film school?
Absolutely not. Take 25% of the +100k it will cost to go there and buy the equipment you need to shoot/edit/direct your films. You’ll make the friends and contacts you need while working on your projects and on theirs. The internet and these inexpensive digital cameras are all you need to get started. The rest is completely up to the individual. If you truly want to make movies you will.
Awesome episode, best yet. Thank you Robert Primes, sincerely thank you.
Work, learn, do! Film school not necessary. That said as a MFA graduate of AFI in Cinematography, I am a better filmmaker in terms of story because of it.
Pretty pictures do not mean you are a good Cinematographer, its about 40% of the job….. Almost anyone can set up a shot in Yosemite for example and shoot a pan with the 5D put in on a reel and make it be “magical”, again making pretty pictures do not mean you are a Cinematographer!
Trust is the key component thats how you get hired, of course you have to know someone and work before the trust happens. Experience is developed through this.
Here’s a a great quote from a well known older established Key Grip that speaks to this:
“You don’t pay me for what I can do, you pay me for what I can do on a moments notice”
Thanks to Jens for driving home the point that the myriad of shit we have to swim through to get to the nectar is an ocean these days!
Cheers,
DM Wexler
There was supposed to be a new episode every two weeks right? I’m kinda looking forward to the next one, so hurry up
…
Great show btw, I love this cast in particular, but the concept on it’s own is strong too. I also like the way Jens hosts this; he’s a little less dominant than Steve.
As a budding Director, the most important relationship for me is the relationship with my DP. Trust! is exactly what I want. I don’t even need an extremely experienced DP, just someone who I feel comfortable with, who I can talk to, and who wants to help me interpret the story visually.
No disrespect to actor’s, but the way that I see it, the DP and the Director are the ones that are making the movie. They’re the ones interpreting the script, by choosing what and how to capture the performances. I could never Director a feature that was full of stress, resentment and egos, to me that defeats the entire purpose of shooting a film. Everyone needs to believe in why they are there and needs to feel comfortable on set, so that they can do their best work.
Great episode as always guys. I was happy to hear your approach when working with different Director’s. It gave me some incite into what DP’s are thinking.
Steve where have you been man ? hehehe
I’m sitting back watching, enjoying and learning like everyone else. What an awesome cast and Jens is doing a great job. I’m still amazed that we have guys like Jens, Phil, Bob & Trent on our little show. Viva FilmFellas.
Thanks Steve, it is a great cast to engage with. Even though I was there asking the questions, I find new insite and hear new things when watching it again.
Great talk once again. As I shoot more and more of other people’s works I’ve run into these situations where you, the director, and time are not all on the same page. Robert has some great insight to how he approaches the situation that I’ll definitely have to try out next time.
Robert’s experience in how to work with a director is brilliant and soulful. His analogy of using “aikido” skills instead of the “karate” mindset with a director is really good stuff. I could feel from the table Robert had the boys intrigued and impress with his spirit of the craft. Just a great meal…
AH we should be close to the next show no? Regardless, I’m still pulling away great info from just re-watching these. I wish yall could put out more FilmFellas, I really do think they fill a void out on the web where people are really putting themselves out there and sharing their film/video experiences.
This was the best film fellas to date, because of no Steve!. Just kidding! Really did enjoy this episode. Terrific insider knowledge from a broad spectrum of the industry. Thanks again for the video
Thanks Garrett, that was sweet
Phil,
We are currently putting out new original programming ever other week with no hiatus. That’s 26 new shows of original content per year. We alternate between a FilmFellas and a Critics ever other week. I’m thrilled that you enjoy our original content but with two full time guys on our video staff (Scott & Daniel) that do nothing but work on these shows we are really maxed out at two shows a month. As you can imagine the cost and time to produce this level of content is huge but it fills the creative gap I’ve had in my life since I went into the Zacuto products business 6 years ago.
best,
Steve
Philip and Robert have some terrific advice and suggestions in the Game Changers episode. Very much appreciate their thoughts and experience weighing in here. Thanks to everyone involved for making this happen.
Your shows are great, as a new company on video (2 years) getting the different perspective from traditional filmakers, as well as the new breed like Philip is great. Keep on making great shows and great gear. Regards
The “Philip Bloom effect” with crashing glass and food smear might need to become a new Final Cut transition. Glad that moment was left in this cut. This was a great episode and I enjoyed the insight regarding film vs. digital. It is interesting to see that despite the game changers and techonological advances (video assist, 5D Mark II) the fundamental disciplines of film still apply (as Philip pointed out when he mentions switching from ENG lenses to shooting with a DoF adapter). Thanks again and keep ‘em coming!
Keep up the good work. It is really a treat to get an inside perspective of working artists in the film world.
great stuff guys! i love this series, and this is the best cast yet! such a diverse range of cinematography areas covered. keep up the good work!
Every time it seems like it takes a few minutes for Robert to get going and then he gives his wonderful insight into film making and the film to digital transition.
acovington ~ love your term the “Philip Bloom Effect.” Yes, our Editor Daniel Skubal and Producer Scott Lynch do an amazing job on both our web series. Glad you enjoyed the insight from our amazing cast of DPs on the film industry and the future of game changing technologies. ~sue
Its so cool to learn about the cameras they used for District 9, prosumer, and even a consumer cameras. But the effect was still great, it looked beautiful. I think its a stark contrast to something like Public Enemies which was also shot digitally, but looked terrible. Public Enemies looked like video, but District 9 looked like film.
Discipline is definitely the key word here. It’s the underscore to all the great things these guys have to say about new products (ex1, 5d, etc…). Stong discipline to craft is definitel a benchmark difference between hobbyists and pro’s. A hobbyist might use color/magic bullet to make their footage look cool, but you would never hire someone who didn’t understand fundamentals of the waveform monitor / broadcast safe standards.
These episodes are great! When are we getting half-hour uncut versions of these?
Thank you Zacuto, ths series gives me as a young german filmmaker a wonderful insight into the big film making world.
I learn a lot.
I especially like this Webisode.
Engaging conversation… I agree with Philip that the HDSLR is a game changer. It may be flawed in its current form, but the potential outweighs the flaws. I’m loving the 5D Mark II – warts and all – because my customers can tell the difference. They sense the “look” without actually knowing what it is. That’s priceless.
Carl Olson
16×9 Cinema
The consensus among everyone I work with is that film is still the sexiest medium. But most of us are using digital, because it’s more accessible. And Canon DSLR’s are becoming pretty much the standard amongst the indie crowd.
I loved the whole conversation about the ‘old’ and new stuff. I always laugh about people when they say; ‘the old stuff is much better then the new’. I have so many examples how I fooled people with certain things, making them think they were watching (or listening to) the old stuff. When confronted with the truth they all were flabbergasted. After that experience most of them decided to try the new stuff and were very happy with it. AND it also happened the other way around!
I think that each product has it’s charm and depending on what you want to make is one of the reasons to decided what you are going to use. Of course in these days money is a big thing in productions. If the product has to fit within a certain budget, that will decide what you are going to use.
There is also a danger factor in this whole story. When people choose more and more for the digital version, you loose people in the film branch. Just look at the photo business, it’s all digital these days and a lot of the ‘old’ photographers closed their shops and sold everything. People gone, equipment gone and most important: knowledge gone. I think the whole film business has a task to preserve this knowledge and equipment for the future, before it’s gone for good.
Three years ago I switched from DV to HDV and just last year to HD-DSLR. The speed of change is huge. Look at the camera’s. Just a few years ago many were working with tape. In 2010 more than 90% stores the material on flash disk. No more magnetic or optical storage. When they have solved most of the problems in the HD-DSLR camera’s those will become even more important as they are now. Honestly: we have only seen the tip of the iceberg.
In the next few years digital film will change the whole TV, Movie and distribution business. They already can film and edit in 4K. The product can be processed in to any form of data stream (BluRay, DVD, iPHone, Internet stream, TV rental stream (SD and HD) and so much more).
In the end, the customer will decide what product will sell. We only can hope the companies will invest money in the old and new techniques to keep them running. Because you never know when you will need them.
Really cool to hear Robert talking about how AC’s used to pull focus. It’s crazy that they had that much experience and understanding of focal length and focus to be able to pull like that. Pulling focus really is an art.
I loved hearing how everyone is all about the EX1/3′s. The fact that Trent shot scenes in District 9 with no additional lenses really made me feel like everything is changing, especially because of the fact that District 9 made so much money.
I’m obssesed with cinematogrpahy and the technology surrounding it, so I was waiting for you guys to start talking tech a little bit more. Thanks for the incite and opinions.
great commend on a great show
wow… we switch January 2009 to HDV (tape) and now we are going to use HD-DSLR’s ( that is fast 
… funny thing is, though … clients still want SD-DVD 
… but i have to say … we got better quality form HD for DVD, that is for sure… but to find the workflow & settings for that was a bit tricky
well it’s not only the technology … its all about how you use your gear (that i learned watching FilmFellas
… u can make a great film even with a HVX100 or XH-A1 …
I think it isn’t about film vs. digital when it comes to larger productions, it’s much more about how the DP goes about crafting the image. As they were talking about discipline, that’s far more important to what you are shooting on or with. I’m so very glad my first major exposure was to film, it breaks a lot of habits that society has picked up with their handy cams and such.
A good DP plans and crafts the light to make the image he wants, he doesn’t rely on the camera to do the work for him. Keep up the great work.
Awesome episode guys. Really hitting the nail on the head. What I love about the dslr cams is that it reminds me of shooting 16mm in film school. I have no monitor and really take time setting up shots/choosing lenses. Also after setting up a shot I tend to let my DP’s make it so – it’s a bit liberating for all of us! As soon as these dslr’s have better monitor systems I’ll return to using one – but by then I’m sure we will see a whole new batch of cameras!
wow, great talk … i think it is hilarious & informative, a great view behind the curtain …
especially with all that HD-DSLR things going on.
(INDEED A GAME-CHANGER … every chat i start with our DP is ending up with something about 5DMkII or 7D … even we talked about the weather .. haha)
and nice comparison with the “old” days (there was no video-village at all, huh? … wow)
and it is good to know that even 35mm Film-Guys are shooting with the EX1/EX3 stock lenses … and great movies like district9 are using them too (who would have thought that!)
great work zacuto-fellow (now i know were to by my film-gear and were do watch great webisodes like filmfellas & critics)
And a big thank you to the FilmFellas (an by that i mean Robert, Trent, Philip and Jens) its great that you guys are sharing this kinda stuff with the “community”
greetings from germany
michael
i would like the “Philip Bloom Effect” in FCP … haha nice … BTW: great camera & editing work !!!
This is a great series. I had everyone I know interested in film link up to these webisodes. I’m one of the “older” generation who studied film in the earlie eighties and fell in love with it. But I so love the digital world I’d never go back. I love the assurity, the control, the spontaneousness and the ability to experiemnt more freely. I shoot with the Lumix GH1 and the Canon 7D. Love the look and the control.
Viva DSLRs! (for now)
Nice! Always love these! I am a GH1 user myself.
Keep them coming. I like both the FilmFellas and Critics. I’ve been shooting with the 7d so hopefully you’ll have more discussion on DSLR shooting. Thanks
Think Philip might have had one too many. Tut Tut Tut… knocking over glasses… i dont know!!
Great Episode, keep up the great work. Always good to get an insight to see how you pros work and think!
http://www.dantv.co.uk
Great episode, always want more, I love Bob Primes comments,he has a great perspective on workflow and the craft of filmmaking. Its a treat to have a ASC cinematographers perspective. All the guys are cool! I would like to hear more about the DSLR’s.
Very informative episode. Apart from Philip breaking the glass the comments on how long will film last was interesting. I disagree though, video will totally decimate the film industry and only the diehards will to contniue to use it and then only in a niche market. It’s economics that will drive change not personal preferences.
Thanks for making FilmFellas. It’s a great way to learn from some of the best!
Keep going on!
Cheers from Germany
Tom
A good one! And thanks in advance for the hat
As for DSLRs, I don’t think it’s only abot their big sensors. I believe it’s mostly about their ridiculously low price, especially, when you take their big sensors and high quality lenses into account.
really appreciate what are you doing here and thanks for sharing with us
The biggest disadvantage of film was not knowing if you had a hair or a scratch or some other problem until it was processed for dailies. That for me is the biggest advantage of digital.
sorry about that…
they spiked my drink!
Phil ~ and you never did tip me for being your cocktail waitress for 3-full days!! ~zapp
Great episode, I agree, video assist is a great asset to have on-set. And, yes Jerry Lewis did ‘invent’ it. I recently shot in super 8, not having shot in film for years.It was fun, but a headache in getting it processed and waiting for the end result, which was so so. I had to color grade the hell out of it. In the film defense though, I hadn’t used the camera in over 15 years! I added it into a ‘dream sequence’ for a film shot in mini-dv 24p, and it added to the scene. It was worth over $100 for the 3 mins!
I just purchased the GH1 and I’m looking so forward to the ‘new’ future of digital filmmaking…
On a technical note, I was very impressed with the lighting, editing and shooting of the episode, Keep up the good work!
You guys should have a round table at South by Southwest in Austin…. Bloom is suppose to already be on the agenda….
Great show always an interesting topic film vs digital and to see that todays DPs are not interested in working with film and HDSLRS are the future.
thanks!
I am thankful for what you guys are doing. Living in a smaller town means things like your ARE my network. Entertaining, insightful and inspiring. Thanks again. (like the whole series. The event film-concept weddings, etc. series was really helpful too.
Just discovered FilmFellas. Really enjoy the content and look of the series. Earlier in the year, I purchased a used Ex-1 and employed it on a recent shoot in Israel with great results—so I was encouraged to hear Robt Primes nice endorsement of the camera. It delivers an amazing image and the workflow is easier than I’d anticpated.
Thanks guys for such a great series. I find the FilmFellas not only very interesting, but very informative. I just bought a 7D and have recently purchased the Zacuto Gorilla GunStock rigs for field production (primarily wedding videos), Thank you and keep up the great work!
Episode 26 has been one of my favorite FilmFellas. Going to film school or not has always been an important question to ask to yourself, even today with all the sources of information available out there!
I find that all of the discussions on film fellas turn out to be interesting, its just funny that just yesterday that me and a friend were ” discussing” the same issues.
Always great. I look forward to the next episode
Always fascinating when you get to evesdrop on an interesting conversation.
Bob Primes question “why use film?” in front of Philip, a DP who’s a trailblazer in creating the film look using video set the ball rolling in this discussion. What a great episode.
Can’t believe bloom has never shot film. Must have played with some s8 or 16 at some point
Different Folks, different Strokes.
Filmstock for some people and digital video for others. It is matter of cinematography knowledge, taste, artistry and budget as Robert implied…..Filmstock and the projected result will always stay as the hallmark of cinematography on a theater screen. Don’t get me wrong, .digital video looks beautiful and it is pretty accurate also .. but only replaces filmstock for reasons of know-how, budget and technical requirements rather than for artistic reasons to tell a story.
I like to shoot live action and dialogue (feature or TV spot) on 35mmm or 16mm and the VFX plates on HD digital. They complement each others for technical and budget reasons rather than artistic.
The immediate gratification of digital video is the biggest lure to the uniniated, the self taught and the younger generation (It also applies to a lesser degree to the masters of the craft) forcing the established manufacturers of motion/still picture and video equipment to develop a new set of image capturing rules due to market and profitability reasons, creating then an open market competition (The Digital Revolution: new players: RED, Phantom, and defunct Dalsa) and consequently creating new technological advancement.
For over twenty five years, I have loved the sense of anticipation and expectation that creates in me every time I seal a can of 35mm/16mm of exposed film stock ready for processing. -until next day or whenever is ready and I sleep fine..-…It is matter of knowledge, of experience in exposure calculations you carry in your heart, not in your pocket- it is organic-..it is your art… it is actually what defines you as a cinematographer/D.P in front of a audience.
To date, I don’t need to see right away what I have shot on film. I know that it is correctly exposed… Unless, I shoot it on HD video. I always check with my DIT the vectorscope/oscilloscope and see the image playback on a calibrated monitor before proceeding for more, mostly if is an extreme lighting dependent scene. Video image capturing is still not as faithfull to all the spectrum of visible light and shadows as filmstock is. Interestingly enough, HD digital video behaves better in low lighting situations than in other lighting situation.
I would say that the most influential game changer in the future of image capturing are the new players, the HD DSRL camera manufacturers, Canon, Nikon and Panasonic Lumix. Most importantly, these outstanding cameras intially created for phtotojournalist are migrating to filmmakers hands in part due to the initiave of aftermarket support manufacturers like Zacuto, Redrock, Chrosziel GmbH and the introduccion of the Zeiss Distagon/Planar Cine Lenses with T stops.
No guys, Jerry Lewis did not invented or was the first to use video assist. One the inventors (they were several due to complexity) was Paul Roos in 1954 who earnedand a 1988 Technical Achievement Award from the Academy of Motion Picture Arts and Sciences (AMPAS) “for the invention of a method known as Video Assist.” and Jim Songer in 1960 who integrated a video camera into a Panavision film camera .
(read more about@ http://filmcastentertainment.blogspot.com/2009/08/video-assist-predates-jerry-lewis.html)
Cheers,
George Leon, Cinematographer
FILMCASTLive!
Using film is just not green, there will be a time when developing film and dumping chemicals will be illegal. Students can learn without all the poison.
Great point about film vs. digital… it’s not about fear of change, it’s just what the great (old-school) cinematographers are comfortable using, and they’ll just keep using it as long as they’re around. Of course most newcomers will choose digital, and the big change will happen in the years to come.
As an entirely self-taught shooter, first in photography and now with video, I feel that the biggest reason I am into any of it is because of the Internet. For me, the DSLR isn’t popular because it’s better or easy to use. It is easier to learn, however, because so much information is devoted to it over a film camera. If I have any questions on exposure or lighting, or just want to explore a new technique, it’s all at my fingertips.
Having spent some time learning about digital shooting, I can say that it’s impossible not to learn a little about film along the way, which is most likely why Phillip Bloom is so good at mimicking it. I for one look forward to the day when I can take what I’ve learned from digital and put it toward film.
Because both methods are unique in having their pros and cons, why doesn’t someone blend the two somehow, such as a film camera with digital viewing assist? Please don’t answer my question with “It’s impossible because…” I understand the difference between “impossible” and “highly improbable.”
And for the film-eschewers: If you think film is going away, I suggest you look at The Impossible Project, which is very close to reviving instant film. I have my SX-70 sitting quietly on a shelf awaiting that glorious day.
Great stuff, guys! Keep it up!
Wow I really enjoyed this! Looking forward to the next season!
Great video!!! Love watching these guys talk!!! I’m a big fan of Philip
Keep up the greeat work guys!!!
Great conversation. I love just listening in on the conversation between such influental DPs.
The opportunities available today are what makes these times so exciting. The fact that filmmaking has become affordable is a huge advantage to all the budding filmmakers and cinematographers out there – and the internet is huge a part of the process of filtering out the good from the bad. Ultimately, however, everyone has to pay their dues. The internet helps discover people who create great work… but if you’re not creating… it’s not going to get you anywhere. Great discussion. Cast 6 is a must see for all budding cinematographers.
- Tuan Le
It’s always interesting to hear experienced pro’s talking about thier craft. This series has shown me that even directors and DOPS with (almost) limitless resources choose to work with the same gear that we’re using at the other end of the industry. It’s both informative and inspiring. It’s also quite funny when Phil nearly knocks his wine over…
Top work Zacuto.
Great insight from great DPs! Phillip Bloom had a really great point for the newbies, get out of the habit of using zoom lenses all the time and learn some disipline with a prime lens. And I like the bonus Philip Glass/Phillip Bloom effect!
Great Episode!!! Very important topics. Theso calles Game Changers, are the ones that could mark a whole generation of cinematographers. One of my favorite episodes yet!
It’s interesting to see how intrepid these DP’s are. I also found
it interesting that the truly great cinematographers will try anything
as long as they get a good image… that was interesting. It’s not
quite as entrenched as I had heard.
jeff
I agree – using prime lenses allows you to duplicate film with the quality sensors we
have today. Using Prime lenses with wide apertures allows you do control your depth of field.
I agree with Philip, and I come from a film background
I really enjoy watching these episodes. It is very interesting and valuable to hear the opinions and insights from people who have a lot of experience working with various formats of cameras etc. - Very helpful and interesting to someone like me who is a complete beginner interested in doing quality work, even if just for their own home movies and such.
I come back and rewatch this series over and over – I’ve not grown bored with them at all. They have helped define how I shoot and why. Listening to a round table discussion by industry notables is a breath of fresh air on this fast changing profession.
Listening to Robert Primes, the old school vs the new school … Philip Bloom & Trent Opaloch. Everyone has something important to share … Dig it! Thanks Zacuto!
‘J-dog
When is Webisode 29 going to air I wanna see their final thoughts on such an interesting discussion!
Hahaha…love the ending guys. Nicely done… gotta agree…i love my DVX100.
This was the most technical episode of the entire series. Bob Primes talks cinematography jargon like no one I’ve ever heard!
I can’t stop watching the ending and laughing, I’ve watched it like 7 times! When Steve says “that’s for calling me a pussy” I absolutely lose it!
Weiss!! Truly classic!!!
THE SAME HERE !!!
oh boy what an ending !!!!
nice chat, though ! as always
nice details on that digital-cam-test …and hear a real pro-opinion on that
oh and i love the DVX100 … i’ve never seen that of a great look right out of a “small” cam … great to handle … i recently did an intercut-sort-of-test
(Casio EX FC150 720p AVI 120fps, Canon XH-A1 1080i50 HDV/ProRes, RED ONE (Mysterium X), DVX100 & Canon 7D) and the DVX 100 footage ist still great to look at …even it’s not as sharp as HD footage of course …
can’t wait to see something form / about the zacuto-shoot-out soon …
the ENDING! You guys are retarded! haha, too funny!
Great episode. Robert Primes is such a generous teacher. You can wee how much he loves this stuff @ 6:24 when Trent is talking about District 9.
I have to say that I was totally caught off guard by the ending. lmao
A great documentary for all you aspiring DPs / cinematographers is
“Cinematographer Style” by Jon Fauer http://www.imdb.com/title/tt0847474/
featuring FilmFellas very own Robert Primes.
Thanks for this series Zacuto!
That had to be the funniest thing I have seen this year!! Great episode guys
The conclusion was great! It just goes back to the fact that it’s not the equipment but it’s the person using the equipment! The ending was HOT! Steve is a Gangsta!
I’m president now! All about products, no more FilmFellas or Critics… muah haha!
Mandy, you are ALL business. Sheesh!
NOOOO Mandy! We have to have FilmFellas and Critics!!! Otherwise, I’m out of a job! I’m glad people are enjoying the episode though!
I can’t belive it’s over! I think Phillip has gone off to play
Bioshock 2 now!
With Weiss Missing and Jens away for awhile. It looks like you and me will be running the Zacuto Mothership!! But sad to see the end of FilmFellas? (sue v.sad). ~z
Haha yall aren’t allowed to have that much fun. Great ended to THE best filmfellas to date. I could just listen to Robert all day long and not get bored. It’s going to be one hell of a challenge to top yourself with cast 7.
Psst Steve, gotta a basement in Florida you can hideout in…..they will never think to look for you there. The best webisode! You guys took great serious technical content and made us laugh. What a twist you twisted sons…..NICE ONE!
Brilliant – I knew Steve had it in him!
i’ve “found” new evidence … maybe Philip Bloom is in some kind of trunk or dungeon
Unnecessary violence? From Mr Weiss of all people – never saw that coming.
I know Philip has stated on Critics that he is not the most religious of men but I like to think he is now looking down on us from heaven. How many Miller DS20′s with 7D’s running timelapse can a cloud carry?
Great series guys, really enjoyed this one – both for the conversation and the education. When I can watch all the way through without using Wikipedia once, I know I will have learnt something about the nature of light.
That’s him!!! That’s the shirt? Now….Where in the world is Philip Bloom?
It’s quite odd actually. Steve has always been such a gentle soul around here. And no Gary, we still have not been able to locate Steve? Where in the World is Weiss? ~ zacuto sue
Lila ~ I love that you are willing to hold up Weiss. He was last seen driving in his smart car!!
I know. We all are sad to see that our FilmFellas Series is ending. But….we still have [ critics ]? Oh wait, we can’t find Weiss or Phil?
Steve…….I don’t know under which rock you crawled to hide yourself…..yet! But this really pisses me off! I had a PERFECT day on the pirate island with my mates….just ONE DAY I was gone! I sat on the boat sailing back to the main land, watching Film Fella’s via 3G on my PAC-Book (Pirate Amfibious Computer) enjoying the whole discussion…then you enter the room shooting around blasting bullets in to Jens and Philip!? What the hell is wrong with you!
PUSSY is not the word I was thinking off when I saw this…..PUSSY is far more better then you Stevie! You know what? You ruined my perfect day on the island! AND THAT PISSES ME OFF! YOU ARE A COMPLETE (CENSORED CENSORED CENSORED CENSORED CENSORED)…..and a PUSSY!
You can hide….you can run….you can crawl back under that stone you hide under….but we will find you….and when we do…..there will be blood. Oh yes……you will know the dark side of me.
Darth Vader is NOTHING compared with me, the pissed off PIRATE!
And don’t forget…..I’m comming to get ya! And when I do……
HAR HAR HAR!
P.S. You also can’t shoot! You missed the other two guys!
Too Bad D….because you are an amazing editor! Viva Zacuto!
Bring back FilmFellas!
Bring back FilmFella’s……we will take care of Stevie…
Bring FilmFellas back!
Bring back Film Fellas … plz !!!
new evidence in the case bloom vs. weiss … look what was found in a side-road …
Dear Michael, thank you for being one of the many who are out searching for our amazing FilmFellas cast members: Steve Weiss + Philip Bloom. Jens Bogehegn is doing fine and will be back at the Zacuto Mothership in the morning. He said, thank you for the wonderful flowers. Cheers, ~Zue
I’ll believe FilmFellas cancelled when I see it
FilmFellas is dead – Long Live FilmFellas!
In the immortal words from Fezzini in “The Princess Bride”:
Inconceivable!
Cliff ~ I love that movie!
We too are very very sad at the ending of our FilmFellas series. It’s was a great + beautiful run. Viva Zacuto! ~ Sad Sue
I guess this will appear on supermarkets nationwide tomorrow
We thank you for issuing this Amber Beer Alert for Philip Bloom who’s whereabouts are still unknown and Where in the World is Weiss?
Yes…and we like her like that. Cheers, ~zue
i’ve just been told that former CSI Gil Grissom will return to look in that case !!!
What, I get a Critics hat and suddenly there’s no more Critics and Philip and Steve both disappeared? Wow. Didn’t know I had that much power! Guess I should have bought that Bush/Cheney hat back around 2000!
Thanks for a very entertaining and thought provoking conversation on the biz.
If you bring it back please, have some more focus on how Cinematography and our creative choices can help tell a story, evolve character, and create a mood. How working with a director, talent, gear and logistics help to create images that connect to the one thing the audience and us on set all have in common, Human emotions. We can all Google what camera “District 9” was shot on, but you provided us one of the few insights into what Trent felt about the gear that was used.
Please don’t end a show just as you start to get beyond the surface.
Bill…I guess that hat may be worth something someday. No more FilmFellas or [ critics ] until we locate our missing hosts: Steve Weiss + Philip Bloom. Thanks for watching, ~ zacuto sue
Yes, clues are coming in by the hour on the whereabouts + condiition of Weiss and Bloom. We will keep you posted. Twitter hugs, ~ sue
Vincent, thanks for your vote to keep our FilmFellas series alive. This cast was amazing to work with and we will miss our round table discussions with the most talented filmmakers in the industry. ~sue
M, thank you for your vote. ~ VP Zacuto Sue
Tim ~ since you are a ChiTown fellow film freak. Help us find Steve Weiss and bring back our FilmFellas + [ critics ] web shows. Twitter hugs, ~sue
Gert ~ Oh my…you Dutch Pirates don’t mess around. Thanks for sharing our passion for the FilmFellas series. If you see Phil or Steve, please be kind. ~Zacuto Sue
Andrew, I guess we all knew it was just a matter of time before Weiss snapped. No one saw that coming, nor the dramatic ending of our FilmFellas series. Thanks for watching, ~sue
Phil ~ Yes, I too think that was the most dramatic season finale of FilmFellas ~ ever. You are right, it will be hard to top this talented cast. See you on Twitter, ~zacuto sue
Anthony, you said it BEST! “The ending was HOT! Steve is a Gangsta!” ~ totally.
Corbin, thanks for loving our crazy + disfunctional FilmFellas cast! ~ sue
Jon ~ yes, Robert Primes is amazing and we all loved having him join our FilmFellas family. Coming soon, you will see him in “The Great Camera Shootout 2010″ where gunslinging DSLRs fight it out with legendary 35mm film. Big thanks for watching, ~sue
Danny ~ Oh yes…the Z-house can get a little nutty. Thanks for watching the most dramatic season finale ever. Cheers, ~sue
Rob ~ can you post that picture here of your reaction to the ending? Now that is classic. As always, thanks for your support of our FilmFellas series. It’s sad to see it all end. Twitter hugs, ~sue
Please fill the wine glasses. Philip has been empty for a while – Thank you
That it should come to this?
Great ending! Haha, made my day.
maybe bloom is in here …
… and is calling Jon Connor
http://www.canonfilmmakers.com/2010/02/sometimes-you-cant-try-to-play-flute.html
hey how is jens doing today and any signs of mr.weiss ?
Yea, but could he fit in that trunk…? ~sue
Paul…it’s a sad sad day for us here at the Zacuto Mothership. No more FilmFellas. ~Sue Sad
Thanks for asking about our Host + DP Jens. Yes, he has made a full recovery and is back at Zacuto today getting ready for the next phase of our Great Camera Shootout Series. However, we are still unable to locate Steve Weiss or Philip Bloom. ~Zacuto Sue
glad to hear about jens is feeling better already
Billy ~ and to think that Phil turned down the Appletini I made him because he cried that it was tooooo strong!! ~sue
REWARD of $1000 to whomever finds Phiip Bloom first.
REWARD of $10,000 to whomever finds Steve Weiss first.
Who’s paying? The Stimulus Bill of course!
“Go ahead, make my day.” “You talkin’ to me?” “I’m gonna make him an offer he can’t refuse.” …and this:
Derek ~ I’m crazy about this design!! I’m sure when Steve Weiss surfaces, he will love it too! Once again, big twitter hugs and thanks for being a fan of the show, ~sue
Stunz…I love how the capture of Weiss is worth way more than finding Phil! Cheers, ~sue
If you like the original design that I’ve ripped it off from here: http://ow.ly/16Rk2 , feel free to buy a car decal from this guy! ; )
Steve, Sue, Mandy- I want Film Fellas 6 on a DVD!! GREAT stuff. I loved the tech talk AND the nostalgic talk these guys had regarding the XL2, DVX etc. Philip Bloom shoots Super 8!!! You should get these guys together again every few years to talk Tech talk…. Jens did an awesome job facilitating the series!! Thomas Roberts
Loved Film Fellas 6!!
I want the series on DVD! And my hat!
This was defintaley my favorite cast for Filmfellas. Well done…sad to see it wrapping up.
ROFL – GREAT ENDING!
Bloom still got his word in….
I have unconfirmed reports that he is in LA. I will deny it if grilled.
Property Visuals ~ send photos + any other evidence. Latest reports, Philip Bloom has been spotted at “The Ranch” and Weiss & Jens have been seen at LAX. Viva Zacuto, ~sue
He always does….
That was hilarious. I always wondered why Steve wasn’t in on this cast. This has to have been the best episode ever of FilmFellas ever! Can’t wait to see what’s next from Zacuto.
Joshua ~ thanks for enjoying the crazyness of our FilmFellas finale. Yes, we have lots in store for the new year. Coming up next, our “Great Camera Shootout 2010″ web series which starts mid-March. Oh yea, and I’m sending you a hat for being a way cool fan. Cheers, ~sue
Serge ~ Send me your email and I will happily send you a hat. First, go here http://bit.ly/4H12Wf to choose a color and then email me direct sue@zacuto.com. Cheers, ~sue
Thomas ~ thanks for all the kudos and you know I’ve talked to the guys about a DVD….? Yes, we loved having Jens as our host and trust me, the guys had way too much fun filmming the Season Finale. You need to come see me in the city: we need to plan a FilmFreaks Tweet-up. Cheers, ~sue
Woa! Some guys just don’t have a sense of humour……
Love it and looking forward to the recovery…..
Forgot to add – respect to Robert Primes for comments about life, philosophy and money.
HaHaHa, Steve, great “Unnecessary use of violence”. Not sure about the acting…Who am I kidding, it was awesome! You guys are great! Please don’t take Film Fellas away from us
Great episode as always. You guys are so good. Love every episode. I recommend it to my students at Columbia College Chicago and all of my filmmaking pals. Congratulations.
RIP Film Fellas, I really did love you.
http://twitpic.com/12m75f
Thank you guys for producing this series. Just when I thought you guys had milked the series dry, you come up with more good stuff! Keep ‘em coming.
Just classic…
lolz