Igor Trajkovski

Yes David, :) "Ordet" (1955) by Carl Theodor Dreyer it is!

Pan continues...

"Cabaret" 1972 The hint did the trick...

"Letter Never Sent" 1959 by Kalatozov/Urusevsky Gotta check that one. Then the next BIG influential film is "I Am Cuba" 1964. Ahh... another title on the to watch list... :)

"In the Mood for Love" 2000 - WKW/Doyle

"Star Trek - the Motion Picture" - 1979 :)

You made me curious here, who is that movie from "the most highly acclaimed movies ever done in the known universe"? :) Tarkovsky, Eisenstein come to my mind as authors of such a movie. "The cranes are flying" by Mikhail Kalatozov maybe... But nothing matched regarding the years you've clued us in... So really eager to hear about the director and movie of such high stature. As for the quiz movie, i don't know. Regards I.

"Biutiful" 2010, Iñárritu/Rodrigo Prieto I used your clues. In all honesty, I've seen and liked the movie, but no memory at all of the beginning seq. The next shots with Bardem in the forest, that i recall... somewhat :)

"The French Connection" (1971) Shame on me, i still haven't watched the movie. I did "detective" work by searching the "Chez Fonfon" object in a coastal city. Came up it is in Marseille. Then a movie with Marseille and Oscar ... :) Here the same place today (?):

This looks "Novecento" to me. Bertolucci/Storaro.

I have a Minolta Autometer VF. Great incident meter. 1 AA battery. Today's reincarnation is the Kenko KFM-1100. As for combined meters i like the Minolta VI, Kenko KFM-2100 and the update KFM-2200. All running on 1 AA battery. The 2200 has some extra functions, slight change in analog scale and illuminated screen. The one thing i miss on these combined meters is the absence of dedicated EV button. I still find convenient from analogue meters reading the light in EV values and determining the difference. Here is EV12 there is EV9. 12-9 = 3 stops difference. :) They have EV reading option but is in the ALT menu. (POWER ON + ALT button , change to EV, POWER OFF to register change, then POWER on to do the EV reading... ) ... As of the L-398A, i had a fetish for it a loong time. As time passed and all cameras are now highly sensitive, i find it's usability quite limited. Alexa with 800ISO, 25fps, and T2.0 is ~7 foot candles. The needle would be near the bottom of the meter scale. And where is my latitude to go down and meter ratios, say -3 stops? :) Best Igor. PS: The "fetish" still creeps in sometimes when the item is mentioned... :)

Read "American Cinematographer". In the articles for the "big" movies you'll find some scene breakdowns lightning wise - what instrument/s and how are used to achieve the look. There is an online (free) archive on their site: American Cinematographer - Online Archives Cheers. I.

According to ARRI Interactive Photometric Calculator: ...

What about just recording a wide shot of the stage and using that as a flat plate in the greenscreen patch/doorway. As the things zoom in/out you adjust the plane by scaling it or moving it as a 3d layer in your compositing app, so visually you have the feel it matches your hallway material. Simultaneously adjust the blurriness of the stage plane. If it looks too flat, construct the stage as couple of layers in 3d space. Cut some static parts as foreground, roto the musicians, some BG elements, and all that combined with the motion of the virtual camera in you comp-app, the defocusing, and it might work just fine. Some shallower DoF might help here to smudge/mask things in the artificial set extension. Best Igor

Motion blur is the blurriness/streaking of moving things in the frame. Regardless if the things move or the camera moves or both. If the camera is locked, the building in the background doesn't move - no motion blur The moving people, cars, bicycles in front of it - motion blur. Dash camera in car - hood is still, not moving - no motion blur. Cars, road, building, pedestrians are moving relative to camera - motion blur. More pronounced motion - more motion blur. Longer shutter time - more motion blur. Shorter shutter time - less motion blur. ... Judder is the pulsing, strobing effect when the motion is too fast for the chosen frame rate, shutter, angle of view. Start panning with your camera slowly across the books in a shelf. Probably feeling the smooth motion. Repeat pans faster, and at certain point you'll notice the smoothness of motion is gone, the books pulse, strobe (jump?). Judder. ... I haven't red the article and don't know in what context exactly they mention motion blur and judder, but i think it has to do with the solving of the judder problem in general by increasing frame rate, and improving smoothness in 3D, where the judder i think can be felt more pronounced. ... I've been from the start of your topic willing to answer but was "searching/constructing" a more precise definition. In lack of it decided to illustrate with examples. Best Igor

Hi there. Been days since i've red your post and didn't get the time to post. My comments for your shot #1: I don't feel them being integrated that well. Something missing... I'll suggest using a backlight for the cubes as being lit from the bright nebula/cloud in the distance. Let that light skim/reflect on the surfaces. I find the cube surfaces too bright. If you suggest high specularity it also means high reflectivity so where are the reflections of the nebula? The motion blur on the cubes could use more samples. I can count ~7, clearly visible on the top left corner cube. I know it's render intensive. Maybe exporting motion vectors and then applying and tweaking the motion blur in post. I know it is possible and in my opinion more flexible thing but don't have much experience with it so can't tell you more specifics. ... Shot #2: I thing the poses could benefit some more adjustments. Somehow they feel stiff to me... I can't tell that the being is slightly smiling. Needs to be more clearly presented. The silhouette of the head could be more pronounced - the top of the head is lost in the background. That is for the first shots of the being. Now I'm watching the later shot where the cubes are assembled into the being. Since it is a closer shot, the final assembly might look more readable meaning the smile. Maybe some backlight/kicker on the head or lift up the background behind it. I have the impression you render it all in your 3d Software. I'll recommend doing it in various passes as separate elements and then combine in post. Easier to "re-lit" or change colors, balance ambient/fill/key/Specular/reflectivity... ... I am with Dan Kessler on the benefits of knowing how to paint. Render time is expensive (time vise). Jotting down couple of thumbnails and experimenting till you've got clear READABLE image of the keys, where pose, silhouette (beings/objects), space is clearly recognizable through values (grayscale), and then maybe working it out color wise and then doing the 3d thing could be a time saver. Best Igor

I've watched the docu, and even while reading your comment on tight spaces, i immediately thought of WKW and Doyle, and their exploration/exploitation of the tight urban settings of Hong Kong. Seems natural of your environment making impressions and desires to be exploited. ... @55min I was surprised when he talked about his involvement with the original actors studio group, praising the realism of American film and stage actors but stating that "realism, realistic acting is just one style, it's got no superiority about it. There are million other styles we need to know about. I mean, how do you do restoration comedy, how do you do the Shakespearean comedies, how do you do Oscar Wilde. And, i got thrown out of the studio" :)

Due to the high reflective nature, the mirror functions as a relay, just bouncing the light rays further. Less reflective the bounce surface is, the rays are more scattered, and less the original directionality is preserved. The bounce surface "emits" the rays differently then the light origin. Hence - new virtual source as you've put it.

I liked his book. Gonna have a look at this one for sure.

Determining of the dynamic range of a scene has nothing to do with your ability to open wider. If you end up at f2.0, ISO800 and 1/50, and start spotmetering your scene, everywhere the meter shows f2.0 will (should) render as mid (18% grey) value. Areas where the meter shows higher stops, (2.8, 4.0 ...) are lighter, and lower stops (1.4, 1.0) means are darker. In order to see lower values then 1.0 which in this example is -2 stops darker, you enter the brightness difference function of the spot meter. Meter till you find the f2.0, enter brightness difference function and as you hold the meter button the display will show you the difference in stops (-/+) of the areas you point your meter on. When the meter shows -6, you are at the lower limit of the camera, and that area will render either as still textured black or featureless jet black, whatever is meant by that -6 by Canon.

From the "Blade Runner Sketchbook": Those sketches by Syd Mead

It seems to me small investment if it will be picked up in full blown production. Imagine the return... :) Why not some sort of a kickstart project? ... I am disappointed at the quantity of non memorable films coming out. I keep asking my self - is it "objective" observation or is it just me? :) There was a period in my life when i watched all the new and popular releases. These days my time is more valuable, i want meaningful spending of the 2 hours. Back to SW and SciFi. I remember Lucas speaking in one video that after SW and it's groundbreaking FX, other productions - film and TV came out with same level of sophistication, but none of them with the SW success and appeal. He said it was not the FX, it was the STORY. The Joseph Campbell-ian Monomyth formula probably did the appeal. And all wrapped in SciFi, or lets just say Space setting. Which brings the question of what is important for the audience. While the youngsters might enjoy the thrill of neck-breaking FX action sequences, the adult want more food for thought, or the soul, exploring the human condition. The target audience of 'modern' action/sci-fi/FX films is making them money, but why not dedicate some modest, not-care-about budget for thoughtful film(s), which might explore timeless topics, the human condition in present or future. Their chance to leave in legacy some memorable films. ... Can't understand - there is almost endless supply of SciFi material that can be filmed. Asimov anyone? And still nobody to fulfill the cravings of the hungry SciFi aficionados...

Why not Lynch , Haneke or Van Trier? :) Lynch woud've shot it on his trusty Sony PD150, Haneke would "kill" with his long static camera shots, and Trier would "dogme"-tize it and do what ever the "F" he feels is right for the "story"... :) LOL ... I might have taken it too far, however there was a time i was fascinated with the idea for a movie experiment where 3 directors would take the same script, sets and maybe the actors and everybody would do their own take on the story. ... I have hopes for "Rogue One" to be better then TFA. Expectations are high, however there is a caution moment in me, there might be some truisms in what Tyler says about the story moments.

On DPreview i found a thread discussing the 1/3 step reading on the meter and it looks like the Fnumbers then are displayed as the direct Fnumbers in thirds + the remainig decimals as 0,1 and 2. So the scale goes (copy/paste): 4.0 0 4.0 1 4.0 2 4.5 0 4.5 1 4.5 2 4.5 3 5.0 0 5.0 1 5.0 2 5.6 0 etc. It seems the combination you like of 1/3 step for shutter and Full Fstop+decimal tenths is not posible. But why not use the FPS? Plenty of them available as the manual states. Should cover your motion picture work fine. And if set to full stops in custom menu, should display as Fstop + decimal tenths. Best Igor

Somebody have put Kodak Cinematography Masterclass with John Seale, ASC, ACS - Lighting Dead Poets Society video on YouTube. There is a setup of the room for cold winter day. Might give you some ideas. Whole video - LINK Set-up 3 - Winter Day @ 12m50s - LINK