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there are probably trade offs between film /HD that makes crew maybe about equal...
"On HD sets, there's a lot more to do with the camera than just assemble, load, mount, and point. There are cables going every which way for audio and video feeds, big heavy monitors to set up in little lightproof tents"
all my film shoots have video tap .. cables are running to monitors , audio cables are also fed to monitors,director,script person . some directors prefer the tents.
" HD adds an additional member to the camera crew, the HD engineer, who checks levels and keeps close eye on his waveform monitor"
IMO you don't need a loader on a HD shoot ( keep 1st & 2nd) - so replace him with a HD engineer and also give him the video assist person...
as cinematographers shoot more HD 24P they will get to know the menu's and what the camera's can do /not do ... should be just a matter of time before the times are about equal ( film/hd) ...
both FILM & HD have alot to offer ..depending on the project one might choose one over the other ..and on the next project choose the other ..........
other then what was mentioned above the lighting /grip crew should remain the same. seems just the camera dept is re-arranged slightly ...
enjoyed the PARIS photo's !!!! love that city !!!
was this a US production ? or you have Paris connections ?
was that a eclair NPR i saw in one of the photo's ?
how did you like the HD ? panasonic or sonys? ...
how did you set up the menu ? film like gamma ? custom ?
what would you do different next time on a HD project?
is this project going to FILM ?
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