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Howard Phillips

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About Howard Phillips

  • Birthday 06/26/1957

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  1. This beautifully shot film is a great example of using the right tools for a director's vision:besides their world-wide use in documentary (and narrative)-style filmmaking, the Aaton cameras create an umatched level of registration and 'micro-registration', which ads a further level of image definition, or 'crispness' - and THE HURT LOCKER's imagery really demonstrates this. In fact the switches between digital-originated images from the Phantom, which are usually completely 'grain free' (noise free) and the sometimes very grainy S16mm filmstock again show how seamless and beautifully the Aaton cameras capture images. For those of you not famliar with the cameras, check out the Aaton or Abel Cine sites; of really special note is the fact that the A-Minima desn't even have a rear pressure-plaate, and yet still captures and delivers such perfectly registered footage! THE HURT LOCKER is an excellent opportunity to see a finely-made war movie and some really beautiful cinematography. http://www.aaton.com/ http://www.abelcine.com/store/home.php Disclaimer: I don't work for Aaton, just admire the excellence of their cameras! : )
  2. Some mighty sweet-looking Super-8, that's for sure! Great transfer. The footage is very pretty (and I don't mean that sarcastically!), the ultra-colors don't exactly bring to mind thoughts or impressions of rain, though. Maybe too many years in New England, but the visuals are a bit "up" and buoyant for a moody song referring to rain...But the footage looks so great, what the hey! Really nice, thanks for sharing. hp
  3. The site is clean and pleasing - you should make the images link to clips though, it's just natural to click on the images. Great looking stuff by the way, love the stills! WIll comment on the film once it downloads... hp
  4. Looks fantastic! Great compositions, the nlighting compliments the music - I have no idea what the words are, but the piece is very beautiful to look at. I dunno about the shot near the very end, cutting between CU and a long-ish MS, where the couple is "whacked" at the ankles, that sort of composition is a little distracting, but all the other shots are wonderful - great lighting. hp hp Just download Flip4MAc, great and free app that makes WMF files behave nicely and play in the QT Player. hp
  5. Lovely work, great variety and sample. I didn't see any ACLU or other signs that seems to have distracted others, but the work here is great. More samples of "up" lighting, less contrasty, might top it off nicely for those producers or directors looking for that sunshine-glow look. hp
  6. Excellent -stylish, the B& W is really clean and totally 'authentic' -did you guys shoot B&W film for that, or was it created in post? Looks great lighting wise. hp
  7. WOW! Really bnice, ballsy stuff - love the predominance of dark in your shots, all very effective, very stylish. Do you have any scenes or moments that are more open and less-contrasty? I'm just thinking if you run accross a director/producer looking for that style, you would have such a sample. Otherwise what a beautiful reel! hp
  8. It's very nice work, and as one of the cinematographers suggests, there seems to be a general quality to the scenes you show. I'd suggest mixing it up a bit, adding the more cotrasty samples towards the end, since the last 4/5 of your demo looks kind of the same in terms of contrast. It's really nice looking work, I'd suggest some more "daring" shots if you have any, towards the last half. Thanks for sharing your work. hp
  9. As the Associate Director of a Digital Filmmaking Program, I may be a bit biased; so I'll just add to the many wise words of advice posted here, and suggest that working in a school environment does offer you a time of concentrated access to both equipment and to crews. When you're hired, esp at the beginning stages, you will not have this access. You will of course be offered the real-world experience, and if you're lucky, some mentoring (hopefullly!), but it's pretty unlikely you'll have as much access to the range of equipment and even 'crew' (classmates) that you will in a school environment. Even if the "crews" you work with in school are bumbling beginners, in time these will become your assciates and usually friends, your first network of what is likey to become your own "linked-in" associates. In the case of our program at CDIA at BU, we've stripped teaching down to the 'vochie' (vo-tec) style, focussing on the crafts, the techniques, the day-to-day requirements of filmmaking. Other programs, especiallly the 4-year ones, balance a lot of theory, aesthetic learning, history, maybe even some semiotics, while we've created more of a streamlined, mentoring and crafts-based program. All these have value for different learning styles, in my opinion. Whether a degree or certificate in filmmaking "matters" is tough to answer - but being able to concentrate on the learning in a supportive environment is a very unique and a powerful opportunity, one that is unlike anything that will follow in real-life filmmaking. I'd definitely suggest exploring education, take the time to find something that matches your interests and learning style. Good luck, roll up your sleeves and dive in! Howard Phillips CDIA at BU
  10. I did a fair amount of lens testing before purchasing a Beaulieu 6008, and while working in the Camera Room at film school. I tested the very lenses you mention, and while the tests were far from hard scientific tesing, I did run some 'recommended' tests, resolution charts, contrast differnece charts, and exposures at various f-stops. In all fairness I didn't have more than a three of the Schnieder lenses, and three Angnieux lenses, the 8-66, the 6-80 and the 6-90 (my own). Overall the Angenieux were better at all apertures, except for one of the Schneiders, I apoligize I can't recall which one, but it offered macro, I remember that. Not sure where the constant 'bad' or medicore feedback about Angenieux zooms comes from, its about 180 degrees opposite from my amateur and my professional experience with them. On the other hand, I've found more soft Schneder zooms than Angenieux, in general usage. Again, I can only speak from my own Super-8 experience, which was pretty extensive in the mid-80's through the early 90's. Here's an old link to a Super-8 site I once wrote a review for...pardon the goofinesses, the technical info still applies! Take care, hope this helps. hp
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