Posting up on B Camera today. 📷 by Alex VanPutin at L.A. River Studios--Louis Normandin

Having a great time in Kuala Lumpur with the International ASC Master Class. We have a wonderful group of students from all around Southeast Asia. My fellow instructors, Dean Cundy, ASC and Theo Van De Sande, ASC are amazing to work with! Our friends at the Malaysian Society of Cinematographers (MySC) have been taking very good care of us and are outstanding hosts.---James Neihouse, A.S.C.

mornin'---Robert Tuscani

Nick Kramer is one of the best 1st AC's I've ever known, let alone worked with. He has perfection mixed with speed and foresight. Watching him and his apprentice, Leah work with Silent Precision, is rad. There are others who profess to work in this business and showcase gagets and an Instagram only proficiency, but Kramer never asks for attention, he's greatness is his invisibility, and it's such an honor to work with him.----Cinematographer Leo Jaramillo

Film Slang

Sometimes on a film set you need to work quietly but still communicate. The below is a chart of the basic hand signals used by electricians.

Electricians- Lighting crew. Also known as Electrics and Sparks. They create light.

The Electrician's brothers & sisters called Grips, create shadows, rig cameras, dollies and cranes. Grips are sometimes also know as Hammers.  The grips know these signals as well and have more of their own.

Film Slang

Pick Ups/Pick-Up Shots
Shots needed to complete the storytelling that were initially missed or left out and are “picked up ” at a later time.

“Picture’s Up”- Commonly used phrase that the First Assistant Director calls out to cast and crew on the set just prior to filming, which indicates rehearsal is over and the next shot will be committed to film. The long version is “This is for Picture”. 

Dialogue Greatness

Adams Family Values (1993) -Gothic comedy based on the comics by Charles Addams. Directed by Barry Sonnenfeld.

Gomez: Children, why do you hate the baby?
Pugsley: We don't hate him. We just wanna play with him.
Wednesday: Especially his head.

Shooting down and dirty with the Movi rig. #fbf Have a great weekend everyone!---Lou Normandin

Under the Big Top. — at La Nouba by Cirque du Soleil.---Leonidas Jaramillo

Louis Normandin

 

Film Set Radio Etiquette

Tips for Proper Radio Use:

*Be professional
*Always use your name when identifying yourself. Common practice is to say "Go for ____(your name)" when someone calls for you.
* Keep your voice low when taking on the radio. Most crew will have ear pieces but keep your voice down. Especially when around actors. Just because they are not in front of camera does not mean they are not working.
*Know that anyone could be hearing your conversation.
* If you need to have an extended conversation (or private) take it to another channel. Do this  by telling the other person "Go to Channel___". For really private talks it's best to ask them to meet you in person.
*Production Assistants (P.A.s): If someone higher up than you has their radio battery go dead, give them yours and get yourself a new one. Same if their radio breaks. Be prepared by carrying a couple of extra radio batteries with you. You are being Johnny On the Spot by being so prepared!
* Always say "copy" meaning that you heard and understand. Without a response, people wonder if you heard them or not.

Common Radio Codes:
10-100: Going to the restroom. Some folks will alternatively use 10-1 as a shortcut to say the same thing. Others may use 10-2 being a bit specific and hinting that it may take a bit longer than 10-1!
10-4: I have heard and understand
10-20 or 20: Location of someone or something as in "What's your 20?"
"Copy": I Have heard and understand
"Do You Copy?": Did you hear me? Do you understand?
"Radio Check": Say this if you are not sure that your radio is transmitting or working. The proper response is "Good Check". If you hear someone ask for a radio check....respond!
"Stand by": Means that I am busy at the moment and will respond ASAP.
"Flying In": Always respond when asked to bring something or someone to the set. It lets them know that you are on it. Also lets us know that multiple people are not attempting to do the same task and wasting precious manpower and time.

This is only a small sample of the lingo used on sets. As you get more experienced in the professional world you will learn the language. Be aware that there are different variations on terms, so don’t look like a dummy. East Coast and West Coast terms sometimes differ. The British terms differ. Be willing to learn. When in doubt ask.

Dialogue Greatness

“Attention. Here's an update on tonight's dinner. It was veal. I repeat, veal. The winner of tonight's mystery meat contest is Jeffrey Corbin who guessed ‘some kind of beef.’”

 
Bill Murray (as Tripper) in "Meatballs"(1979)

Steptoe Butte is one of the great vantage points for photography in the Palouse region. Photographers make the winding drive up the hill, which rises about 1,000 feet above the fertile farm land below, to achieve an unrestricted view of the rolling hills. June, 2017. Canon 5DSr, Canon 70-200mm.⠀---James Neihouse, A.S.C.
⠀

A moment of pause between setups in Yerevan.--Louis Normandin

Friend's Pics

Congratulations to Henner Hofman, ASC, AMC on receiving the first ever Certificate of Appreciation from the ASC for his contribution to education in cinematography! Honored to be present to help Henner celebrate!---Cinematographer James Neihouse, A.S.C.

FIlm Slang

Grid- On a soundstage (a studio space where filming takes place) there can be a Grid hoisted overhead to support lights, scenery, and other items. It is made up of pipes and lumber. Grids are mostly used for sitcoms and weekly TV shows. Those productions tend to have lights that have been pre-placed on the grid. You might notice that Sitcoms and TV shows often look different from Hollywood Feature Films. The reason is that films tend to use lights on stands placed individually for each shot.

Linhoftechnika...Its on! --Cinematographer Leonidas Jaramillo

Learn from Those Who Have Been There

Jim Jarmusch’s 5 Golden Rules for Filmmakers

Jim Jarmusch is one of the truly independent filmmakers having successfully navigated his way in and outside of Hollywood. Director of 19 films, his most famous are Coffee & Cigarettes, Mystery Train, Stranger Than Paradise, Night on Earth, and Ghost Dog: The Way of the Samurai.

Jim's Golden Rules:

Rule #1: There are no rules. There are as many ways to make a film as there are potential filmmakers. It’s an open form. Anyway, I would personally never presume to tell anyone else what to do or how to do anything. To me that’s like telling someone else what their religious beliefs should be. Fuck that. That’s against my personal philosophy—more of a code than a set of “rules.” Therefore, disregard the “rules” you are presently reading, and instead consider them to be merely notes to myself. One should make one’s own “notes” because there is no one way to do anything. If anyone tells you there is only one way, their way, get as far away from them as possible, both physically and philosophically.
Rule #2: Don’t let the fuckers get ya. They can either help you, or not help you, but they can’t stop you. People who finance films, distribute films, promote films and exhibit films are not filmmakers. They are not interested in letting filmmakers define and dictate the way they do their business, so filmmakers should have no interest in allowing them to dictate the way a film is made. Carry a gun if necessary.
Also, avoid sycophants at all costs. There are always people around who only want to be involved in filmmaking to get rich, get famous, or get laid. Generally, they know as much about filmmaking as George W. Bush knows about hand-to-hand combat.
Rule #3: The production is there to serve the film. The film is not there to serve the production. Unfortunately, in the world of filmmaking this is almost universally backwards. The film is not being made to serve the budget, the schedule, or the resumes of those involved. Filmmakers who don’t understand this should be hung from their ankles and asked why the sky appears to be upside down.
Rule #4: Filmmaking is a collaborative process. You get the chance to work with others whose minds and ideas may be stronger than your own. Make sure they remain focused on their own function and not someone else’s job, or you’ll have a big mess. But treat all collaborators as equals and with respect. A production assistant who is holding back traffic so the crew can get a shot is no less important than the actors in the scene, the director of photography, the production designer or the director. Hierarchy is for those whose egos are inflated or out of control, or for people in the military. Those with whom you choose to collaborate, if you make good choices, can elevate the quality and content of your film to a much higher plane than any one mind could imagine on its own. If you don’t want to work with other people, go paint a painting or write a book. (And if you want to be a fucking dictator, I guess these days you just have to go into politics…).
Rule #5: Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to.”
Article thanks to Moviemaker.com

More birds. Barred Owl brings dinner for her brood in Greenwood Cemetery, Orlando, FL. 1DX Mk2 with 300mm f/2.8 telephoto with 1.4x extender. @canon_photos @canonusa #floridawildlife #florida #birds #birdsofinstagram #greenwoodcemetery #owl #barredowl------Cinematographer James Neihouse, A.S.C.

Friend's Pics

Camera Prep courtesy of Vasquez.---Cinematographer Leo Jaramillo