Tim Tyler

Just a little note to let new forum members know that this 'Video Only' forum is for discussing video production topics, not video post production topics.

Isco Director's Viewfinder Features all the desirable aspects one would want in a finder from one window viewing of formats and focal lengths to distortion-free optics. http://www.studiodepot.com/store/index.cgi...28&aid=timtyler - - - - - - - - Canadian company with a few sizes to choose from. http://cavision.com/Finder/FinderPage.htm

Change the filename extension to .MPG and see if that will play.

I agree. I think owning a nice basic camera package in the right market (NYC, LA, big city) allows the newbie-DP to be picky and choosy. Most new directors will jump at the chance to get a DP with camera for the same or less than a pro camera rental alone. Plus they won't need insurance. If you think your time will be wasted, just say no (or ask for more $$).

This advice didn't by any chance come from a forum user somewhere in Prague, did it?

I think MOS is a better choice if you're working for yourself, shooting on your own time, building your own reel. But you'll have a problem getting hired as a DP on new filmmaker shoots if you don't have a quiet sync camera. Well, maybe you won't have a 'problem', but you'll have more choices with a non-MOS camera. The CP16 is a very good recomendation. If you get one, try to find the CP primes and don't shoot wide open unless necessary. IMO, the value of your decision is not necessarily the reel you'll get from working on these films, but the relationships you'll form.

If you think you've got a bit of talent, and you're interested in shooting professionally, you're in a good position now, and you'll be in a better position if you buy a quiet crystal film camera. You're 25, in NYC, and you're working among industry professionals. If you stick with it, you'll move up the ladder, and your fellow PA's will someday be producing and the electrics will be gaffing. Stay in touch with these people. If you have a camera then you can rent yourself out as a DP on no-budgets and student films. You won't make any real money, but you'll be able to afford to buy some lights from time to time. You'll also gain valuable experience shooting and you'll make friends. Unless you suck. Or you decide it's not for you. In that case you can sell the camera for probably 90% of what you paid for it. If you can find the $$ for a camera, buy one. Note: In my opinion, buying a DVX or XL2 is not the same as buying an Eclair or SR1. A film camera will demonstrate to your peers that you are interested in shooting 'film'. If you want to shoot video, or practice being a director then by all means buy a video camera, but if you want to DP other people's films, buy a quiet film camera and learn how to use it well.

I wonder if that had something to do with the cartridge. Feels like Super-8, sounds like Super-8, must be Super-8.

Camera phones will soon have lenses made from nothing more substantial that a couple of drops of oil and water, but will still be capable of auto focusing, and even zooming in on subjects. So says Etienne Paillard, CEO of French start-up Varioptic. The company was founded two years ago to exploit two core technology patents covering lenses based on the principles of electro-wetting. This is the tendency of liquid to spread on a substrate, Paillard explains. "It means we can tune the shape of the drop to create a lens. Think about a tunable lens, like in the human eye," he suggests. The lens has a simple structure: two liquids, of equal density, sandwiched between two windows in a conical vessel. One liquid is water, which is conductive. The other, oil, acts as a lid, allowing the engineers to work with a fixed volume of water, and provides a measure of stability for the optical axis. The interface between the oil and water will change shape depending on the voltage applied across the conical structure. At zero volts, the surface is flat, but at 40 volts, the surface of the oil is highly convex, Paillard said. There are several obvious advantages to having a lens built like this. Because there are no moving parts, there is less to break and it should be more rugged. Power consumption is also very low: around a tenth of that of a motorised auto focus lens. It also has the potential to be made very small. Paillard says that at the moment, the limit is a couple of millimetres, but that the company is researching ways of shrinking the lens further. Varioptics is now developing the lens for use in endoscopy as well as in camera phones. But the camera phone market is its priority right now. The company has a non-exclusive licensing deal with a subsidiary of Samsung to develop the lenses for use in its camera phones. Paillard expects products will be on the shelves by Q1 2006 at the latest, and maybe even in time for Christmas next year. The first product will be the auto focussing lens, but in another year's time Varioptics will have a true zoom capability, using two of the liquid lenses, Paillard says. "We've just proven in simulation that a 3x zoom is possible. We're building the prototype now." Varioptics has just filed a further two patents, and will pursue an aggressive intellectual property strategy. "We think, and out patent advisors think, that this is the only way you can do it [build an auto focussing lens] with liquid," Paillard says. "So anyone who wants to build something like this will need a licence from us." http://www.varioptic.com/v3/news.php?news=24

No.

OK, everybody. Let's move on.

Tonino Delli Colli, AIC will receive the American Society of Cinematographers (ASC) International Achievement Award which is presented annually to an individual whose body of work has made an enduring impact on the global art form. The award will be presented to Delli Colli during the 19th Annual ASC Outstanding Achievement Awards here at the Century Plaza Hotel on February 20, 2005. Delli Colli was in the front ranks of a new generation of cinematographers who pioneered neorealist cinema after World War II. He earned over 130 cinematography credits between 1944 and 1997. The Ministry of Performing Arts in Italy has presented the prestigious annual David di Donatello Award to Delli Colli four times. He has also earned six top cinematography awards from the Italian National Syndicate of Film Journalists. His award winning films include TALES OF ORDINARY MADNESS, THE NAME OF THE ROSE, MARIANNA UCRIA, GOSPEL ACCORDING TO ST. MATTHEW, CHINA IS NEAR, ONCE UPON A TIME IN AMERICA, THE GOOD, THE BAD AND THE UGLY and LIFE IS BEAUTIFUL. "Tonino Delli Colli is one of our great artists and it's high time he was singled out for recognition," says ASC President Richard Crudo. "Throughout his career he has been incredibly courageous and imaginative in exploring new possibilities for cinematographers. He is an inspiration to all of us, all over the world." Past recipients of the ASC International Achievement Award include Freddie Young, BSC, Jack Cardiff, BSC, Gabriel Figueroa, AMC, Henri Alekan, Raoul Coutard, Freddie Francis, BSC, Giuseppe Rotunno, ASC, AIC, Oswald Morris, BSC, Billy Williams, BSC, Douglas Slocombe, BSC, Witold Sobocinski, PSC and Miroslav Ondricek, ASC, ACK. Delli Colli was born in Rome in 1923, where his father worked for a film lab. After Delli Colli graduated from junior high school his father instructed him to find a job. "It was for economic reasons and because I wasn't studious," Delli Colli says. About a year after it opened, Cinecitta Studios hired a young Delli Colli in 1938. "They asked me if I wanted to work in the sound department or with the cameramen," Delli Colli recalls. "I said with the cameramen even though I knew nothing about what that meant. I knew absolutely nothing about filmmaking. I had no idea that those few words would determine the course of my life. I learned my trade by watching what the professionals were doing and valuing the advice they gave me. There was also a natural instinct that I can't explain, because it's not a tangible thing. It's just a part of me." His mentors have included cinematographers Mario Albertelli, Ubaldo Arata and Anchise Brizzi. He was an assistant on Albertelli's crew ("He was like a father to me"), and a camera operator for Arata and Brizzi. Delli Colli earned his first credit in 1944 for FINALMENTE SI! (FINALLY YES!). He observes that neorealism was a child born of necessity in post-war Italy, when black-and-white films were being produced on minimal budgets at practical locations. "They were all dramatic, unhappy stories about post-war life," he says. "The defining characteristic of those films was that they were filmed in real environments, partially because the Cinecitta Studio was filled with displaced persons. We used ambient light and what came through the windows as the starting point for our cinematography." Delli Colli was under contract to shoot five films a year for Carlo Ponti and Dino De Laurentiis during the early 1950s. That's how he happened to shoot TOTO A COLORI (TOTO IN COLOR), Italy's first color film in 1952. He recalls that the film had an exposure index of six. "No one else wanted to do it," he recalls, "but they told me I had no choice, because I was under contract. Poor Toto (Antonio Scannagatti)! He had problems with his eyes and we had to use an avalanche of light. As soon as the director called cut, he ran off the stage to get away from that inferno." Delli Colli says that the transition to color film required development of new types of lighting equipment and investments by labs in processing and equipment. It also affected basic concepts for costume and production design and even a rethinking of story concepts. "There is no doubt the cinema has gained something from the advent of color," he says, "but I think it also lost a lot. Black and white made it possible to create unique atmospheres." By the late 1950s, Delli Colli was shooting Italian-American projects. He was working on THE WONDERS OF ALADDIN in 1960, when he heard that a promising new director named Pier Paolo Pasolini was preparing to shoot his first film. When Delli Colli sent word that he was interested, they told him he was too expensive. "I told them to pay me whatever they could," he says. "I believe it was fate, because that day completely changed my career. I did 12 films with him in 15 years (ACCATTONE, THE DECAMERON, MAMMA ROMA, THE CANTERBURY TALES, etc.). Pasolini respected everyone on the set. He assembled a great group of artists, including (production designer) Dante Ferretti and (costume designer) Danilo Donati." Delli Colli met Sergio Leone during the early 1960s when he helped the young director find a producer who financed his film. They subsequently collaborated on THE GOOD THE BAD AND THE UGLY, ONCE UPON A TIME IN THE WEST and ONCE UPON A TIME IN AMERICA. "He was a meticulous artist, who paid attention to everything he did, right down to the smallest details," Delli Colli says. "He wanted me to light long shots so the audience could see details on screens of all sizes. He wanted them to see individual hairs in each character's beard as well as their eyes. That's one reason why his three-hour films passed quickly for the audience." Delli Colli says that Federico Fellini was "fairly easy to work with ... you just had to get to know him. He had the habit of changing things at the last moment. Fellini never worked with notes or a script. He invented everything on the spot. We shot everything for THE VOICE OF THE MOON in the dark of night. For a scene that was supposed to be lit by fireflies, I had tiny lamps made and suspended them from fishing rods dancing in front of the lens. In THE NAME OF THE ROSE, the only artificial light came from candles, torches and lanterns. I intensified lighting with tiny lamps hidden in fake candles. It was painstaking work that grew out of intuition." Delli Colli concludes, "The great actor Marcello Mastroianni always said that he was lucky because he had the best job in the world. I share that feeling with him. I've met great professionals who have allowed me to express myself as best I can through images. If anyone asks me about my films, and how I created them technically, I always tell them to watch them again because everything is right there. The magic of film can't be put into words." Owen Roizman, ASC, chairman of the organization's Awards Committee says, "Tonino Delli Colli has earned the esteem of our members who are uniquely qualified to appreciate the artistry of other cinematographers. They recognize the power of subtle nuances in his images that are meant to be transparent to audiences. He has compiled a remarkable body of work that has stood the test of time. I am looking forward to this celebration of his artistry." The ASC was formed in 1919 when the Cinema Club of New York and the Static Club of Los Angeles merged. Their primary purpose was to provide a forum where the first generation of cinematographers could meet to discuss ideas for advancing the art and craft of filmmaking. There are currently some 275 active ASC members today with roots in many different countries, and 140 associate members who work in ancillary sectors of the industry that support the art and craft of cinematography. For information about the 19th Annual ASC Outstanding Achievement Award, visit the ASC website at www.theasc.com or call 323-969-4333.

It's thankfully not very often in this forum that I need to step in as the admin and moderate. But, if you haven't noticed, there are nearly 2500 members now, and an average of 15 new members comes on board every day. I think threads like this one help keep everybody on the same page, and show people where the acceptable discussion boundaries are. Being polite and considerate counts here.

On Thursday, December 16th, Band Pro invites you to explore the latest digital cinematography solutions. The renowned HD cinematography/broadcast equipment provider is opening its doors for a Digital Cinematography Open House. Band Pro will be joined by top innovators, including Clairmont Camera, Plus 8 Digital, Sim Video, Sony Electronics, 16x9 Inc., Anton Bauer, Arri, Astro, Boland, Canon, Chimera, ERG, Evertz, Fujinon, IDX, Innovision Optics, K5600, Kino Flo, Leader, Lectrosonics, Lowel, Miranda, Oconnor, Petrol, Sachtler, Sennheiser, Ste-Man and Vinten. This is the ideal opportunity to meet with the world?s leading equipment providers as they showcase what?s new in digital cinematography. Manufacturer representatives will be on hand to answer your questions. Doors will be open from 1:00pm to 8:00pm. Guests will enjoy a buffet of Japanese cuisine and spirits, and the opportunity to win a variety of door prizes. The event is located at Band Pro Film & Digital Inc., 3403 West Pacific Avenue, in Burbank. To RSVP (by December 10, 2004), visit RSVP@bandpro.com. For more information, contact toni@bandpro.com.

Eclair NPR Operating Manual attached. NPRmanual.pdf

Cinematography is an artform, and art can be political. No argument there. But this is the 'cinematography' forum, not an art forum. It's not even a 'filmmkaing' forum. It's pretty specific - cinematography. The point here is to keep things in this forum directly related to cinematography. The people who frequent this forum are here to discuss cinematography. Got a comment about the politics of cinematography. That's fine. Post away! But this is not the place to talk about 'left vs. right' or 'democrats vs. republicans' or 'religion A' vs. 'religion B'. And it's certainly not the place for somebody with one political point of view to bash somebody with another political point of view. This is a place where people interested in cinematography talk about cinematography.

Don't worry. This site will not close down. David's right though. Let's leave the non-cinematography discussions for another forum.

I swear this will be my last post in this thread.... I saw "Collateral" projected in 35mm. That movie was shot with a 'film finish' in mind. Michael Mann shot it on video (mostly), but he was making a film. I know what you're saying, David, and I don't entirely disagree. I just think that, unless motion picture film is factored into the project, people who are saying they're 'making a film' should think twice about that, and maybe say 'movie' or 'video' or 'motion picture' instead of 'film'.

One of dictionary.com's definition of "steak" is: "A patty of ground meat broiled or fried. " Now, if McDonalds started marketing their hamburgers as "steak sandwiches" some people would feel cheated and some people would accept it. If McDonalds kept at it for years, then "hamburger" and "steak sandwich" would probably become one in the same as far as most consumers were concerned. That doesn't mean that a piece of crap McDonalds hamburger should be called "steak" though. There are plenty of fabulous restaurants that proudly specialize in hamburgers. They may someday decide to continue to call their sandwiches 'hamburgers' or change to 'steak sandwiches' if that becomes an accepted norm due to some (hypothetical) marketing campaign. So in the future you could buy 'steak' and fries from McDonalds or from the best organic burger joint in town. Two entirely different products and experiences. In my opinion, that's why some choose to call thier video movie 'a film'. It's acceptable. But it's not accurate. I think now that video can finally hold its own against film as a motion picture production and distribution medium, there's no reason to call it 'a film'. It's not, and it will only confuse and complicate things down the road. So, stand proud, movie makers! Today the movement begins! "I'm making a VIDEO!" :rolleyes:

So is the $6k just for production, or does that need to get you the 35mm festival print(s) too? Are you the DP? Do you know a DP with a camera package who'd work for cheap? In order to get a comprehensive answer, you'll need to be more specific about your project.

Lowell makes a gell frame that keeps the gel a few inches from the lamp. In the past I've clipped gel to the Tota's doors but used a big enough piece of gel that there was room for the heat to escape. Use a 750w lamp instead of a 1k. Tota's work well in quality softboxes too.

I think if a video project makes it to film for distribution then it's acceptable to call it a film, because it is film. Interesting! I've never really thought of tape as 'magnetic motion picture film'. I'm actually surprised now that I've never seen tape marketed that way. Of course, video tape started as audio tape (didn't it?). So does that mean my bathtub is a 'filmmaker': soap residue stuck on a ceramic base ;) I think 'movie' is probably slang for moving picture or moving-picture-show. (Movie star. Movie theater.) 'Movie' seems more colloquial than 'film' which, for the purpose of this discussion, is just an abbreviation of 'motion picture film'. Personally I see no reason to criticize anyone for choosing or shooting video instead of film. I would hope that this discussion does not go that route. I've been shooting a video documentary for four months now and whenever the director would describe the project to somebody he'd call it 'a film' and it bugged me. We argued it a little and he started referring to the project as 'a video', but probably just to make me happy. That's what prompted me to start this poll.

I found this on the ARRI web site: Franz Kraus, ARRI's General Manager, recently traveled to China. He reports that China had a master plan to switch their TV and cinema infrastructure completely to HD. After a review of this plan they found that none of the HD productions had passed their image quality technical censorship. They now have changed their plan to include film acquisition and they are building four DI centers, again demonstrating the strengths of film and of DI. (from http://www.arri.de/news/newsletter/article...674/roundup.htm )

Please elaborate if possible.

Please stop the name-calling.