Maximilian Schmige

I had seen Baraka and Errol Morris films. Truly amazing works. Outside of Baraka, I feel like a lot of documentaries such as by Errol Morris rely on amazing subject matter and editing. I am looking for more films along the line of truly amazing visuals and visual storytelling. I'll look into the other films mentions. Thank you for all the recommendations!

Hi folks! I was wondering if anyone knows of any documentaries with award winning cinematography? Looking for compelling documentaries that showcase extraordinary cinematography above and beyond the usual. Has a cinematographer ever won the academy award with a documentary? Looking forward to all the great responses!

Unfortunately we can't go back and rescan. No money. We have HDCAM and need to finish HDCAM. The question exactly is what is the compression format to get all the info from the HDCAM without generating an unreasonable large file?

Hi folks, Maybe someone can help me out. I shot a short film on 35mm. Unfortunately we could only transfer to HDCAM (not SR). We imported the footage compressed for editing purposes. We will upres again from the HDCAMs for color correction. The movie has been edited on Avid and we want to color correct now. We are finishing on HDCAM again. We have access to an AVID DS (Nitris). At what settings should we upres the footage again? Should we generate a DPX file for the DS? Is DPX overkill? HDCAM is only 3:1:1 140mb/s. Couldn't we just use like Avid HD DNX 220??! It's a higher compression setting than HDCAM anyway?? What about using Apple Color instead? Exporting from Avid as an Avid DNX quicktime and then importing it to Apple Color and finally laying it back out to HDCAM from Final cut...? A little unsure what would yield the best results or working space. Hope someone can help out! Thanks

Thank you und Danke for all your advice! I will give it a try and see how it works out. Long live film :)

I understand the concern. Oh yea and I am shooting scope too. The idea was to give it a try after I already done my transfer. So nothing to really loose but the neg of course. Maybe I'll try doing it with the workprint first before I touch the neg. I was in contact with a neg cutter before but since hardly anybody is doing it anymore deals are hard to come by. I went to Deluxe and they looked at me funny, when I asked for step printing. They showed me this old school optical printer. The original work order sheet was still hanging of it. One of the last times it was running was for Reservoir Dogs :) In the end this project is just a nostalgic endeavor. Where am I ever going to actually showcase a 35mm reel anymore...lol

I am shooting a little demo reel on 35mm. Beside doing the HD transfer I thought about cutting my own reel together the old fashion way. Splice and glue time! Anybody have any ideas how I am supposed to do this? What kind of glue/cement should I buy? I have access to an old fashioned editing bay. Hasn't been used in a decade but I thought I give it a try as long as you can still buy film.. Hope somebody has some advice for me.

You can watch it here on youtube: http://www.youtube.com/watch?v=weM3Af6pRDk Let me know what you think. Maximilian Schmige

So, I am planning on using these two cameras in the near future but have no idea how i should go about doing camera tests with a digital camera... I am familiar on doing tests for film but digital remains a mystery to me. Here my goal: - I know from film that the film stocks can (and should be) tested before any shoot to determine the perfect density levels as learn about the RGB response curve. - I know that the digital cameras have strange color pattering in the highlights or shadows (because the RGB curves don't run parallel in the toe or shoulder of the curves) As I would do in film: - I want to test the digital cameras to find the perfect exposure range (dLogE curve?) - Test the cameras (with CC filters) to correct the color shift Question: How do I do that? How can I get the dLogE curve out of the cameras to see how my tests affect the chip/camera characteristics?! I wan to see what happens to the curve if I throw an 81B or CC20 magenta filter upfront the lens... Hope somebody can help me out... Thanks!

Yea, i got the same question...Anyone?!

Anyone out there, who knows about the crew position Preview Assistant? To my knowledge the position deals with pre-visualization help during principal photography. Involves working with the DoP. Still photography references of scenes/shots with color timing for the film lab/colorist. This should be a union position but I am not sure where to go from here. Where can I find out more information? Thank you :)

I am only a newbie. This is the first short film with dialogue I have written and directed. All the other stuff was music video aesthetic stuff. I would agree that the mockumentary genre is quite overdone but it's always funny. I think I can be proud of myself. I did a good job with the little experience I have had so far... Feedback appreciated.

And we have our own domain now :D http://www.HowToDirectACommercial.com

ups....wrong link! You can see the entire film at http://www.filmandmedia.ucsb.edu/announcements/harley-vote The link in my initial posting will direct you to the Thank You page and not to the voting site...

Hey my fellow board members! I am a film student at the University of California Santa Barbara. The Film and Media Studies Department presents a short viral video competition sponsored by the Creative Artist Agency and Harley-Davidson. Each film was given a budget of $1200 to make a film about the new Harley-Davidson lifestyle. All ten films are competing to win $5000!! My film "How To Direct A Commercial" is one of the videos. The film takes a comedic look behind-the-scenes in the making of a Harley-Davidson commercial. You can watch the trailer here: http://www.youtube.com/watch?v=ahPPquv1JBg And the entire film with the voting option here: http://www.filmandmedia.ucsb.edu/announcements/harley-thanks Thanks for checking the video out!!