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Personally I can't watch the films of Wes Anderson or Miranda July and not get the general sense that these are artists making movies. Granted not every director would fall into that category but not everyone has the same approach to storytelling. For some, the craft is just a means to tell the story, for others "how" they tell the story is almost the whole point.

Hello, I shared my first 16mm film with you all in 2019 (https://cinematography.com/index.php?/topic/80373-my-first-16mm-shot-film-147-would-love-your-thoughtsfeedback/&tab=comments#comment-513161, and like promised I shot my next film on 16mm again. 2nd time shooting film was a little less nerve-wrecking than the first. I felt that with the first I was having more fun, but with this one I was more rigid (mostly due to limited finances because of the pandemic). Shot with an ARRIFLEX BL on 700’ of 500T Vision 3 (rated 200ASA). Lenses Used: Carl Zeiss 9.5MM S16 Super-speeds (90% of the

That sounds like the right approach. Bear in mind that quite a lot of things that you wouldn't think will flicker actually do; there's more flicker in modern LED lights than there was with fluorescent, for instance. 90 isn't that fast; if you were talking about 900 you'd have more concerns. Some HMIs do okay at lowish rates, but may start to cause problems at really high frame rates. Test everything. P

There's no point in getting shitty about the quality of other people's work. If they're doing a job you wanted (even one you think you could do better) the simple fact is - they won, you lost (if you were ever even in the running). And whatever it is they're doing to get these jobs, is clearly working. So instead of getting judgemental about their lighting, try to get judgy about your own approach to marketing yourself - because that's the only thing that's lacking in these situations 🤷‍♂️

Still plenty of jobs down here in Oz asking for F55s. They're workhorse cameras - and the new S709 colour science from the Venice has given the images from the older camera new life. I would take one any and every day over the FS7 (which I've always found the image from noticeably "thin" to work with in post). If you want raw recording, want to shoot Sony, and can't afford a Venice, then the F55 is definitely the option to go for - the raw workflow on the FX6/FX9 is pretty janky still. The Venice and F55 share the same Colour Filter Array - so you're getting the same high-quality dyes in

Just adding to this thread as it comes up first in a K3 Super 16 google search. I'm hearing from a local 16mm transfer house that they are encountering a lot of scratched footage from S16 K3s bought recently on eBay. It's unfortunately often first time film users, trying out the medium, and being let down by unscrupulous sellers who don't care about image quality. It's a sure-fire recipe for people to be turned off film, which doesn't help in the fight to keep film alive. I won't mention names, but for anyone contemplating buying a S16 converted K3 on eBay, be wary of sellers from Russia

Dear friends, what should I expect when shooting slow-motion with rather unusual fps for a standard 25 fps project? Say, 90 fps? My strategy is to try to avoid any 50/60 Hz related equipment and then accurately slow down the footage in post to maintain the correct shutter speed of 180 degrees. Does it make any sense? Any advice would be much appreciated!

Well my wife is not smart .. she married me after all ..

Hi, we are currently prepping a short film and want to go for the lighting of the attached mood. Sun barely coming through semi-transparent curtains, with only a few spots, where the sun directly enters the room. Due to location restrictions, we can only light from a small balcony (see attached sketch). I am planning to bounce an open face HMI (M18 or similar) against a mirror, and send the light through the curtains. This way we could virtually extend the distance between subject and light source. Another option would be to not bounce against a mirror, but against a large surface (u

Yeah, my bad it's 7222; just single perf!

It is no secret perhaps that David Watkin, BSC was gay. I mention this only because I actually think it influenced his cinematography, as it was rooted much more in swinging London, editorial and fashion, rather than staler coming-up-through-the-male-ranks. Towards the end of his life, he used to love to have young DP's over for lunch at his Brighton house. I think he just enjoyed the chats and hanging with young DP's that were interested in hearing his war stories. I got wind of this and sent him a letter where I asked if I could come talk cinematography over a cup of tea, as I was just up th

Let me tell you a true story that happened maybe 3 years ago: One early morning my agent gets a call from one of his newly signed shit-hot DP's - the guy everyone wants to book at the moment. The DP has pulled off the freeway and is having panic attack and can barely breathe. When he finally calms him down, it turns out he's on his way to hist first big job on a soundstage. "I've never lit anything in a studio, or even seen a built set before - I've just used natural light on location!". Now, that wouldn't have happened when I started. You simply didn't get these kinds of jobs unless

Not all things that are miraculous can be called art. 🙂 Lots of engineering feats are just as moving as some works of art. Same with some scientific discoveries. But, I did say that directing wasn't art. Cinematography also is not art, and neither is photography. Movies can be considered art as a whole, though, because it's my understanding that storytelling is an art form. Even if they're not art, they're still valuable. A few films have moved me. Some of David Lynch's films, for example. Heck, some of his TV commercials have moved me just as much.

I wish I could upload this picture, because I literally did the same thing with a 2k Blonde during a night shoot a few days ago haha

Have you seen, "Five Came Back" on Netflix? You probably already know the story, I knew bits and pieces, but to see it all assembled, really shows how some of these guys, Ford included, because alcoholics and insecure about his career. Where I was never a fan of his movies in general, boy did he manage to make a bunch of great ones.

In film school, my cinematography professor ordered a few pizzas for the class and kept them warm with 2K fresnels. I always remember that!

When it’s done well, I think filmmaking is as mysterious and miraculous an art form as music, painting, or sculpture. That’s just my take, but I’m compelled to ask - if you feel this way, then what are your favorite films? Has any film moved you as deeply as a great piece of music? If that’s not art, then what is? My feeling is that those reticent directors of the era like John Ford were more than a little insecure about their artistic sensibilities and afraid of appearing sensitive and caring. Ford in particular was a fascinatingly contradictory person - as successful professionally as

I'm going to have to a agree with this. I do not see directing as art. Just IMHO!

They were shooting into the sun, maybe it was silver or gold lame for fill?

Thank you for sharing your insight on all this! And I'm sure it's been done before for those same reasons, but that last one made me laugh!

Yeah the Shadow and SDC2000 Spirits are fantastic and super reliable machines that run like tops once setup. They were designed for a machine room and engineering staff situation and to be run 24/7/365

My first thought was a griffolyn black side. At least a horizontal texture can be seen. But it wrinkles in the wind like a thinner material. And it has the white bands across it. What the heck is this?

DFT sells new machines, I think they are a million dollars or something like that. Same design, just updated.

Oh they are amazing machines, the fact they work is beyond belief. If you saw it up close, you'd drop your jaw, it's bigger than a forklift! It has drawers underneath full of memory buffers and controls for the high voltage lamp. The back opens up and is full of optical components and the beam splitter line imager assembly. It's very complicated and honestly, having worked with it a lot, they do work amazingly... when they work. God help ya if a lamp blows up or there is a power surge. You're rolling it to the curb and hoping someone grabs it lol 😛 I believe there is a slight vacuum on

Well, yea of course but everyone see's the recessions coming. During a reason the prices go up is because the value of the currency you're using to purchase has gone down. Also during a recession, you see peaks due to wealth preservation. They buy low and sell when it peaks out and the recession is over. It's no different then as you said, buying futures and making a gamble. A smart person will know these things and predict recessions and buy a lot more than they need early on.