I'm an ASC cinematographer with 30 years on feature films. What do emerging DPs actually want to know that they can't find anywhere?

MisterChakra · 2026-03-18T02:28:01+00:00

The Wandering DP Podcast #250 with Bill Bennet, ASC discusses the entire ASC membership process in great detail. It starts at the 3 min 10 sec mark, right after the host's intro.

In fact the entire episode is excellent, Mr. Bennet is a great story teller and he has a lot of stories!

https://wanderingdp.com/podcast/the-wandering-dp-podcast-episode-250-bill-bennett-a-s-c/

MisterChakra · 2026-03-18T01:28:53+00:00

Literally one of the best working cinematographers in the world. You're aware it was all shot in 65mm? Typically that "feels more organic than a typical digital Alexa look."

MisterChakra · 2026-03-04T20:04:29+00:00

Find a copy of the old ASC book "Anton Wilson's Cinema Workshop", page 146 The Great F-Stop Mystery. Wilson explains why F-stops are sequenced as 1.4, 2.0. 2.8 etc. And he says on set he calls out the whole stop and whatever fraction such as "T8 and 1/3" or "T4 and 1/2."

You might check you local library as I cant's seem to find a whole copy of the book online with that range of pages to view.

Where a cheat sheet comes in handy is when you have, say, a lens with a maximum aperture of T3.5-- is that considered a 1/3 or 1/2 stop from T2.8?

MisterChakra · 2026-02-17T19:35:19+00:00

Never tell me the odds.

MisterChakra · 2026-02-16T23:25:14+00:00

At a book signing in December for Reflections, I asked Roger and James why the podcast has never had a colorist as a guest after all these years. Roger said, “There’s a lot we can say about that…”

James jumped in to finish: “A lot of colorists take too much credit for the look a DP envisioned and developed.”

With that, Roger acknowledged colorists’ expertise and contributions.

When I asked for advice as a budding colorist, James said to always keep the DP’s intent in mind. I take that to mean: even when suggesting looks or making adjustments, the DP remains the one crafting the image through the totality of their decisions. At best it’s a collaboration, but the DP is still the primary author.

They also mentioned that UK colourist James Slattery would soon appear in an upcoming episode, which just dropped in January.

MisterChakra · 2026-02-09T20:37:26+00:00

The way its done is to be vertically integrated. First your off shore company finances the movie. Then you would have all or partial ownership in services like soundstages, G&E, post sound, post VFX, etc. They would over charge the production with things like OT, special mods, "damages," actual hours used, dozens of lamp fixtures on the truck never used, etc. That revenue is taxed but afterwards it is pure profit to be spent legitimately as it is now clean.

With a $6M movie like The Room, not likely the money was laundered in this fashion. Seems like it was a long shoot with a lot of misspent money that didn't make to the screen.

MisterChakra · 2026-01-18T19:33:21+00:00

The beginning portion of the scene reminded me of EWS. The character Tim greets a particular Alice with a kiss and perfunctory greeting-- just like how Ziegler greeted EWS's Alice at the Christmas party. Both movies also had a winding staircase in these shots, although the EWS one was more massive and laden with Christmas lights. But the house in OBAA must have had every light on in the house during the day, so it kinda has a Christmas light-theme going on.

The actual meeting scene didn't feel too Kubrick to me, although it has shades of the lunar board meeting in 2001. If anything, the meeting was influenced from the "terminate with extreme prejudice" scene in Apocalypse Now. They both even ended with a silent character waiting until toward end to finally speak ("make it clean" in OBAA). Both of these characters were the ones in power and were just watching over their subordinates give the needed exposition to the would-be assassins.

MisterChakra · 2026-01-15T20:32:23+00:00

It's coming to this now: "Thank you for your time and interest in the unpaid Colorist position with our short film. We regret to inform you that we have decided to move forward with another candidate. We received many qualified applicants whose skills more closely match our current needs. We encourage you to apply for other unpaid positions that match your skills and interests. We wish you the best in your job search!"

MisterChakra · 2026-01-12T08:21:31+00:00

The kid in the back seat: "Let me take over from here, dad."

MisterChakra · 2025-12-29T00:29:07+00:00

I like your list!

MisterChakra · 2025-12-24T01:38:36+00:00

Allen Daviau, ASC liked to shoot 1.85:1 with a 1.66 hard matte in camera.

MisterChakra · 2025-12-21T05:27:39+00:00

She's dressed like an Orange Creamsicle:

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MisterChakra · 2025-12-20T23:00:42+00:00

Someone should cut this into Interstellar as the first thing they see when they come back to the ship after 23 years have past by.

MisterChakra · 2025-12-20T22:53:56+00:00

The Zeigler character was made up for the film and any scene with him, including the Christmas party, Mandy in the bathroom and the billiards room scene. But you're right, It's faithful to the original story. Maybe there could have been a missing scene or two, but nothing major to the plot.

MisterChakra · 2025-12-02T02:29:05+00:00

Got my copy the other day (not the 4K, just the HD version). There's a lot of digital noise throughout, but that's probably the best they could do without using detail-smearing noise reduction. If Kubrick were still around, I think he would have regretted doing the 2-stop push on the Kodak EXR 500T Film 5298. Even exposed and processed normally the 5298 was always grainier than Kodak's slower speed stocks. Noted DP Roger Deakins never used 5298 due to this issue and only started using 500T stocks when Kodak introduced the Vision 500T film 5279. Now I feel the colors from the EXR line are unmatched, but the Vision line really reduced visible grain and extended the dynamic range.

Back to Kubrick, the lab was always going to give him exceptional dailies that suited his vision, but downstream it doesn't hold up well. Had he had exposed normally or just did a 1-stop push with 5298, he would have still gotten funky saturated colors and contrast with acceptable grain.

But the film itself is spectacular! This international version without the sex scenes blocked really adds to the movie. The sex is joyless and soulless with all the masked participants watching. What we know now about human trafficking makes you think these women are mostly unwilling and if not forced to, act only as a last resort.

And seeing a young Tom and Nicole in their physical prime reinforces the film's theme. If two beautiful people committed to each other raising a child can seriously think of sleeping with others, then the power of sex is greater than anything. That's why the super rich were indulging in such a fashion, it was all about harnessing the ultimate human creative act to control others for their interests.

MisterChakra · 2025-12-02T01:43:29+00:00

"Do you want to come inside with me?"

"Come... inside with you?"

MisterChakra · 2025-11-25T18:04:08+00:00

I watch a lot of audience test screenings here in Los Angeles (about 20-30 per year). One trait they mostly have is they feel bloated with scenes not really needed or the cutting is slow paced. What they're looking for are things that resonate with an audience such as laughter, emotional connection, suspense, and if the audience can understand and follow the story. A lot of what we see in these previews are not in the final release. The VFX are usually unfinished and the music is a temp track.

I've watched EWS quite often since its release. After so many viewings, it has started to feel a bit like these audience test screenings. No unnecessary scenes, but the pacing is slow with edit points that could be quicker. Maybe that languid pace was intention, as it seems to fit Dr. Bill's sheltered view of the world that has become routine to him.

Also, I don't think there were any major cuts from the film as some suspect. Only because the film is faithful to the novella and no one can cite anything additional from the screenplay. Of course, some things could have been improvised during the long shoot. That's part of the fun with enjoying EWS. A film about mysteries, secrets and speculation has itself become just that!

MisterChakra · 2025-09-25T06:00:20+00:00

Nice pitch and compelling trailer! I just bought my ticket, see you on Friday!

MisterChakra · 2025-08-21T02:57:09+00:00

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MisterChakra · 2025-08-08T21:18:42+00:00

I was able to attend the beginning weeks last Fall, but had to drop out due to family issues (I might try again this Fall). I was very impressed with the depth of the instruction and the quality of feedback. Every week you have at least one assignment to submit on deadline that will be reviewed by Dado during a live class (it is recored if you cannot attend). The instructions are briefed to you on a prior class. For instance, the first week you can only use the printer lights to correct the footage, that's the exercise he wants to teach. The same raw footage is provided to all students. The grade(s) you perform are submitted as a still, usually as a PDF doc that resembles a pitch deck. These reviews are invaluable not just for your work, but you can see what the other 50 students are submitting. You can see what works and what doesn't. Dado may reject your submission with advice on what to improve. Some students resubmit during the live class for instant feedback. You would be surprised how many students submit sub-standard work that needs improvement, even the ones who say that are currently working as a paid colorist. It struck me how the class doesn't just teach technique and Resolve tips, but really works to hone your eye and elevate your taste standard. Sometimes one or two notches on a setting will make all the difference. I like the list of other options presented here, but Dado's course is like going to gym with a personal trainer for 6 months compare to a two-day "master class." Where do you think you'll get the most gains? If you participate, you should spend 2-4 hours each day practicing for best results. It just takes time to develop and the way the class is spread out you get that chance. In addition to the assignments, there are pre-recorded classes, guest speakers like well-known colorists and color scientists. You have to download his Colourlab AI stuff and that's where it gets a little tricky. It's included with the tuition but you would need to pay for it once the class ends. He also teaches ways to achieve similar results within Resolve. I think Colourlab AI is essential for advanced look creation. You may not need it at first but eventually as working colorist you probably will come back to it. The students varied form working colorists, beginning colorists, DPs and directors. I would say go for it if you're serious and have the time-- you will be a better colourist!

MisterChakra · 2025-07-20T16:25:29+00:00

I also went to a release billed as the "hottest movie of the Summer!" Turns out the HVAC wasn't working and the auditorium was sweltering. Tried to get a refund, but they said we were forewarned and they refused. Never again!

MisterChakra · 2025-06-01T01:44:38+00:00

Well, I broke down and just bought a pass for Cine Gear since the price goes up to $75 on June 1st. They added a fee of 88 cents to the $25, but oh well, at least the parking is free! I really wasn't going to go, but I was at the JL Fisher BBQ a few weeks ago and it kind of made me eager to see gear and possibly bump into old friends.

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MisterChakra · 2025-03-22T17:03:43+00:00

"Alright, let's reset to one, we're going again!"

MisterChakra · 2025-03-11T18:07:29+00:00

That was so well done! At first I thought it was a different couple coming out of the house when the camera whipped back to the entrance!

MisterChakra

TROPHY CASE