Whether it be aspects within his films, if so which and why?

Personal encounters with him, and any advice he gave you

Or his influence with technological advances... such as ENR process....storaro selection filters...Univisum 1:2....or anything else.

Any comments will be appreciated,

Thanks.

Also, how much grain difference would there be if I decide to print on 16mm? 

Joe was a crucial pioneer in motion picture technology, responsible for countless innovations that shaped modern cinematography (including early video assist and camera support systems). His contribution to the industry is immense.

I've written a brief remembrance on my blog that you might find of interest:

https://fabiopirovano.wordpress.com/2025/12/13/joe-dunton-bsc-1945-2025/

He will be deeply missed.

And that's about all I could find out about the guy. No publicly available interviews, no wiki, no BTS - maybe there's something on the DVD releases? Not even a photo on his IMDB page. 

That is until I found THIS in memoriam from the ASC issue March 2013. You need to search Alfred Taylor, ASC in quotes to get an exact match lol. But that's the ONLY link that comes up giving ANY backstory on the guy. And boy what a career! 1000+ commercial credits, starting presumably from the ground up filming weddings, actors headshots, & documentaries. Then starting his own studio while also custom machining accessories for his personal 35mm Arriflex. 

I just found it odd that Killer Klowns was his last feature, especially after being made an active member of the ASC just a year prior to filming. Granted he was 64 years old at the time of the film's release. Probably slowed down & just committed to filming commercials before retiring in '94. 

So yeah I guess this started out as a query to find out more about this ASC member who stood out as a pretty substantial member of a first time director's feature length b movie. I'm so used to bios, articles and interviews that accompany a cinematographer's career - especially from members of these societies of cinematographers like the ASC. Cinematography isn't exactly the first thing that comes to mind when you think of Killer Klowns but hey the movie looks pretty good for a b movie from '88. I'd be proud of that work if it was me. I guess this turned a little into an Alfred Taylor appreciation post. Seems like he had a pretty good career - made movies, sailed around the world, contributed a bit to the tech of cinematography. What more could one ask for? lol. What do you think about the movie/ Alfred's cinematography? 

Has anyone else gone into a deep dive on a cinematographer that was relatively unknown to them? Especially ones from the ASC, or any other society, that has a surprisingly small amount of credits?

(Beside DVD...YouTube, Vimeo interview or audio interview also works.)

I've completely cleaned my bolex multiple times.

Any ideas ?

I am very curious to know what negative stock Sławomir Idziak used in the double life of veronica.

I'm searching the internet and I can't find anything regarding the stock. Does anyone have any information about it? It would be a great help!

Thank you very much!

1: I'll filter daylight using an 85B and have a .9ND, as Kodak suggests. I wonder if I can combine them for an extreme light situation (noon) or if, on the contrary, that combo will negatively impact the camera's ability to capture good images. I'm asking because I want to avoid manual exposure since everything will be shot "guerrilla style."  I have shot 500T daylight in the past with and w/o filter; I have color corrected in post the blue cast; however, I always notice that in comparison with the filtered version, when correcting in post, you cannot get rid of some blue cast in the highlights (I assume this is because the silver halides) 

2: I would like to have some "step-print" effect moments on camera, and it is my understanding, after a lot of research online, that I can achieve this by setting up the camera using the variable shutter leveler, increasing the lens aperture, and dialing the speed from 18fps to 6fps. Since I haven't had the time/money to test, I wonder if this is the correct approach.  

This forum has been a great place to learn from others, particularly Mr. Mullen. I would appreciate any advice on these matters.

Stay safe, and thanks!

C

I'm shooting a feature where the director wants a bright and colorful look. The locations and production design will go a long way in helping this but wondering if their is anything in camera I can do to bring out this saturated look, specifically filters. Would simply using polarizers do the job or is their something else you’d reccomend . 
Shooting on a Sony Venice

Thank you for any and all suggestions!

With Oppenheimer, the assignment was capturing human faces, but when we look at a human face, it doesn't end at the surface of the face itself. It's also about what we project onto that face. As an audience, when you look into someone's eye, you're wondering, "What is he thinking, or what is she thinking? What's going on in their brain?" You see an expression, but beyond that expression, there can be a plethora of emotions and thoughts, and that was something that we were very interested in.

https://aframe.oscars.org/news/post/hoyte-van-hoytema-oppenheimer-interview

Bonus

"Ludwig Göransson Dives Deep Into the Making of His 'Oppenheimer' Score "

For the whole courtroom-driven third act, Chris asked me to write 30 minutes of action music. That immediately felt like an interesting approach . . .

https://aframe.oscars.org/news/post/ludwig-goransson-oppenheimer-interview

I'm looking for someone who could still make a film magazine barney. Lee at Cup Camera made a beautiful ARRIMAG 120 one for me about three years ago but I'm not sure he's still in business. Anyone know how to contact him or any other possible sources. Thanks a bunch!

Steven Holloway

Laurel, Maryland

FilmFiction

301-362-1660

I’m shooting a short film that is set in the late 1970’s in a elementary school. We are using a Sony Venice with Zeiss super speeds and Angenieux ez zooms. 

I’m wondering if their are specifics strategies I can do in camera to get a time period feel. Been looking at movies of the era; camera movement, lighting styles.

In post we might add some grain and color grade to get a vintage film look of the time. Nothing to aggressive so as not to look artificial though. 

One thing I’m curious about is filtration. Can I get recommendations of filters that would have been used at the time? I am conscious of baking in something too aggressive that will be hard to work with in post. However, anything I can get in camera is always preferable. 

Thanks for any suggestions!

I'm looking for information on shooting a stand-up comedy special. This is something the stand-up and their producers would be funding independently, hoping to sell to a network or streaming service.  No budget restraints. Would be shooting in a fairly large theater.

Mostly I'm curious what cameras are being used and how many. I'm in the narrative and commercial world and usual use Arri's and Venices. Are those being used for comedy specials or are they using broadcast cameras? The producers want this to feel more cinematic so that's a consideration.

If anyone has any experience and can point me to resources (e.g. American Cinematographer articles...) I'd really appreciate it.

Thanks

I'm a third year Film Production Technology student and I'm currently writing my dissertation titled, 'Determine the impact of different light sources on lens performance, investigating the effect on image quality between cinema lenses and still photography lenses.' As the title suggests I'm going to be looking at how different light sources might affect lens quality. I'll measure this by looking at resolution (using MTF charts), chromatic aberrations, distortion and vignetting. I'll use three still photo prime lenses (24mm, 50mm, 85mm) and test at different apertures and then use three cine lenses at matching focal lengths and test the same. 

I'm curious as to whether anyone has looked into this before? What kind of results did it yield? Do you have any good/reliable resources in this field (previous studies, articles, journals etc.)?

Thanks,

Sam ?

I have a problem because I'm asking question for set light on an entire office where pratically all the film will be shot. 

I'm actually building some king of chimera where I'm going to put in Aladdin Bi-Color 2 so I can have direct control on the light (Two "chimeras" for two aladins) and those will be on the ceiling. 

For the rest I only see the solution of a lot of practicals to add some light on the set and not having problems with false fittings. (I don't know if it's the good term)

Maybe I will also use a skypanel to add some lights for the room.

There is a picture of the office 

Thank you so much 

I've recently got back into shooting on 16 and have a kind of flare that I see quite often on footage including a couple of shots from my last shoot. My question is is this just lens flare? is it simply a case of taking more care shading the lens or is it something more serious? I've noticed it happening mainly from practicals and blown out windows. I hope this pic illustrates the problem clearly.

Thanks 

I‘m looking for an Oregon-based DP that I sold my Bolex SBM to in late 2019. When I sold the camera to him it was loaded with a roll of film (I exposed a couple of feet) and we agreed he‘d ship me my part of the negatives back so I could get it scanned.

However, I unfortunately lost all contact details (as well as forgetting his name lol) when I switched to a new phone.

So I‘m wondering if anyone on here happens to know an Oregon-based DP with a Bolex SBM? I know he mostly shoots snowboard/skiing action, worldwide. Maybe I get lucky and someone on here can think of a name. Would love to get those negatives.

Thanks for your help!

The director is looking to drop small rectangular pieces of mylar confetti onto a static subject and wants it to glisten/twinkle on camera. The subject is lit from the top (halo lighting, likely with a diffused ARRI 1k) but I'm wondering if that somewhat hard lighting would do the trick or if I need to light the confetti differently?

I'm shooting on 16mm 500T Kodak.

Thanks.

https://bscine.com/news?id=421

RIP.

I was wondering if you know by any chance which stocks, lenses and camera they used for the film.

And more in general if you knew resources to find interviews from Fujimoto: with the amazing career he had I'm pretty amazed that I couldn't find articles on American cinematographer or even books...