Images of Interest
652 topics in this forum
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Well, I have been trying to post some photos, but have had no luck, so here is a link to my site: http://colemanmetts.com/webpage.html Hope you like them!! Coleman Metts
Last reply by tsmyles, -
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Another one, this time created by a friend of ours from some of Don Coufal's images. This could be a poster for "The Last Samurai" featuring cinematographer John Toll. - JW
Last reply by Jeff Wexler, -
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Sort of difficult to describe the blueish one, taken on "The Last Samurai". Artificial "fog" and color balance caused the blueish tint, shot is over one camera setup in the foregorund, through which a Camera Car with crane arm passes as a blur. The other is a Steadicam rig on a wheeled dolly, this shot in Italy on "Mission Impossible III" - JW
Last reply by old school, -
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rear
Last reply by Darren, -
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side
Last reply by Darren, -
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another view
Last reply by Darren, -
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Just thought I'd say that I am really impressed with the photo by Don Coufal that greets people on this site. I don't know what format was used, or what it looks like as a print, but as it is, as the primary graphic on this site, it smokes.
Last reply by old school, -
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just to get things going, here are two images of my sound cart (not very good photos, sorry). Monitor is a 10" Xenarc, Audio, Ltd. 2000 quad box next to it, Deva IV below that, Sound Devices 744T and then the Cooper 208. What is not seen is the new Mac Mini behind the Xenarc (that 's because it isn't there yet), the Cart Power Supply at the bottom of the cart that runs all the equipment.
Last reply by Jeff Wexler, -
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the everpresent movie cops (at least on medium to big movies) helping out while shooting on Albert Broooks' "Defending Your Life" (mixed by Tommy Causey and boomed by Joe Brennan). The movie cops are an indispensible asset to the production sound department --- they can stop traffic! I remember on one job a relatively new producer put on the headphones and listened to a rehearsal and was horrified at the amount of traffic noise. He asked how I was going to stop all the traffic noise because he could hardly hear the actors' voices. I said not to worry, we won't have all that traffic noise when we actually roll. The next day at dailies this producer came up to me and said i…
Last reply by Philip Perkins, -
Well another pretty face, right... :-)
Last reply by OscarL, -
I will try to find a better photo of it later, but this is my latest version of cart, the 7" monitor is not in place yet and there are some other stuff that will get some room in there later. Amongst other things I'm thinking of a mac mini as so many others here. /Oscar
Last reply by OscarL, -
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I have just been thinking about my father's amazing career. His committment to human rights, human decency and soccially relevent issues, has been an inspiration to me my whole life. Now, completing his documentary movie "Who Needs Sleep?" at age 84, he continues to have important issues drive his life's work. Regards, Jeff Wexler
Last reply by old school, -
Producer and I
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This was on the set of Spring Break Massacre where I was a sound assistant. I didn't even know what was going on behind me.
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Okay, so I'm attaching a photo of me here...not sound oriented, but acting oriented (yes, I'm one of those evil people that work on both sides of the camera...if you want to see more, check out my acting site:Â http://www.philtalsky.com) Phil
Last reply by ptalsky, -
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Can you ramp it into a van, does it require a lift-gate? Do you have a van or a cube truck etc? Philip Perkins
Last reply by Jeff Wexler, -
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side view showing Cooper pulled out in working position
Last reply by Philip Perkins, -
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on "Postman" again, Sven Nykvist (wonderful DP and wonderful human being) look at Sony television sitting on a funky cart. This was the early days of video assist (no, not the really early Jerry Lewis system) and was being done by Louis Mahler who pioneered video assist systems for Hal Ashby, Bob Rafaelson and others.
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The camera is in the picture boat but there was a nearby "follow boat" where most likely Art Rochester may have been riding with the recorder. It is possible that Art was on the shore and it was one of the rare instances of wireless boom in those days.
Last reply by Jeff Wexler, -
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Also on "The Postman Always Rings Twice" here you see Rick with a mic in the EV (Electro-Voice) "football" windscreen
Last reply by Jeff Wexler, -
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This was on "The Postman Always Rings Twice", 1981 which Art Rochester mixed and Rick Thornton was the boom operator. Doing this scene in the rain, an improvised protective cover for the Rycote windscreen was built from hogs hair. The hogs hair covering works to disipate the water hitting the mic and thereby lessening the noise of the rain on the mic (but eventually the water passes through and ges through the Rycote and to the mic).
Last reply by Jeff Wexler, -
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note the custom EV "football" windscreen which actually houses 2 Schoeps microphones (see 2 XLR connectors on the bale) for stereo ambience recording. On top of the sound cart you might recognize an outboard MS matrix decoder we used for these recordings. The Nagra on the cart is still my venerable mono 4.2; we would get the Nagra 4-S (no TC) out of the truck when we wanted to do the stereo recordings. Also, you can see the smaller windscreen is one of Don Coufal's "butterfly" design --- entirely made of Acoustifoam and very effective, the shape says it all. Regards, Jeff Wexler
Last reply by tim apter, -
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"Revenge For A Rape" with Mike Connors (remember "Mannix"?), shooting in Vancouver, Canada, 1975 (runaway production way back then?) I had Rob Young as the Boom Operator --- Rob is a really good guy who went on to be a very accomplished mixer doing such movies as Clint Eastwood's "Unforgiven." Regards, Jeff Wexler
Last reply by tim apter, -
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Haskell, Jeff and Laszlo Kovacs at some cinematographer's event --- possibly the ASC Banquet, circa 1970 Yes, that was my own hair... what the hell happened Regards, Jeff Wexler
Last reply by Jeff Wexler, -
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one of the films I was so fortunate to do with the late, great Hal Ashby... and I also got to work with my father on that one. So much I have learned from those two and so thankful for the chance to do as many films as I did with Hal... he was the best. Regards, Jeff Wexler
Last reply by old school, -
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Haskell, my father on the left, Hal Ashby in the middle, and that's me on the right (with hair --- this was 30 years ago!). Everyone always asks what I was doing on the movie... I was the sound mixer and yes I am wearing gloves (dangerous work around moving trains). Regards, Jeff Wexler