Christian Vandervort

ahhh... I was afraid that might be the case, spoke too soon. I was having a debate regarding 65/70mm cameras with some friends of mine and this exact issue was brought up. So thanks for clarifying Leo.

Jamie, all I was saying was that the phrase: "one of the greatest Cinematographers of the modern era" can easily be interpreted as a frivolous comment due to its lack of thoroughness. (Btw-what exactly Is the ?modern era?- I fully appreciate Ron Fricke's style of shooting... in my experience: more so than the next person (I?ve always advocated his films and practiced his style of shooting) But I've recently been introduced to, and immersed in other forms of filmmaking, and have developed a healthy appreciation for all of the alternative approaches to filmmaking. My response was only meant to address a seemingly innocuous textual mis-step. No need for animosity. (Btw- I appreciate his physical and mental efforts as much as I do anyone else?s...and I don't think that you're the only person who fully appreciates Art as a metaphor for life, so don't be so condescending) P.s. it was 70mm.

Ron Fricke has an amazing body of work, and at one point I revered him also. (Don’t get me wrong, Baraka is a personal favorite)- but his work is all basically documentarian nature photography. There are no lights, no sets and no use for all the knowledge one needs to function on a film set. If there's natural light and a location, he can shoot. (Not to degrade his beautiful time-lapse motion control work either) All I'm saying is that there is a lot more to cinematography than what is required in Ron Fricke's speciality. all i know of are http://www.spiritofbaraka.com/ http://www.koyaanisqatsi.com/ and obviously his imdb page and whatnot

sorry for the long delay...one student shoot after another. No, it ended up being quite easy. I did a quick test with the shutter ON at 1/48, and upon playback on an HD monitor- everything looked flawless. Thanks again

Everything went as planned... thanks for the help guys KV

Well at one point I shot this TV successfully with a Canon XL2/ PS Technic Adapter at 24 p... is that any indication? (sorry I forgot to include this previously)

I'm a student preparing to shoot a 24p project with a Sony F900 starting 7/27, and there is a scene in which two characters watch an episode of "I Love Lucy". Is the Plasma TV we have for the scene going to cause any flicker or other undesirable effect if I just shoot it? (i was recently told that it wouldn't) I would appreciate any advice Thanks ahead of time

Ah, that's considerate of you. Well I look foreward to meeting you next year, and good luck with your work in '06-'07. Thanks for responding. btw- are you a founding member of Cinematography.com?

I recently attended a "P.O.V. Q&A" at the Cine Gear Expo in Santa Monica on 6/24, and M. David Mullen was listed among an impressive group of DPs scheduled to speak (subject to availability). As I studied the list, my eyes naturally perked up when I saw David's name, as I've recently read many of his posts. Other attendees included Bob Fisher, James Chressanthis, Jeff Jur, Izzy Mankofsky, George Spiro Dibie, John Simmons and Laszlo Kovacs. But Mr. Mullen wasn't there! (along with Ellen Kuras and Bob Yeoman)... where were you M. David Mullen? :) p.s. The panel was also promoting a great new book entitled "Reflections: 21 Cinematographers at Work" which you can find at theASC.com. It's a consolidated account of a number of lectures given by lighting/camera professionals, whose names you will certailnly recognize. This book provides in-depth explanations on how specific scenes from reputable films were shot, including lighting diagrams...etc Check it out. theASC.com

50D (5201/7201) or 250D (5205/7205) I'm wondering if anyone knows the significant differences between these two variaties of daylight stock are: (whether, in general, film speed will determine any of the following) i.e. Contrast, Grain, Latitude, Color sat, etc... Thanks in advance