Piotr Ciacka

This site says it was shot by Philippe Le Sourd, not Doyle.

Is that true? I was wondering how you got anamorphic flares on "frozen moment" footage. When doing it the Matrix way, you would need halluva lot anamorphic lenses to attach to still cameras. So were the people shot just not moving, and other things, such as chairs, microphones etc., were just specially positioned props? Nice work by the way.

Couldn't edit my previous post. Is the scene a deleted scene from "North by Northwest" (this occured to me when the guy's trying to unscrew a lightbulb and uses a handkerchief with R. T. initials, sort of like "Roger Thornhill" - looking at a fuzzy credits however, I don't think the actor is listed as Thornhill), or is it some new project that never came to fruition? Anyone knows?

Oh. My. God. It's better than sex! (I'm a Hitchcock buff). And yes, one of my favourite shooters behind the camera. Wow. Thanks for the link, Tim!

Simply amazing. Myself, I love the "idea of shooting night sequences close to what we see with our own eyes" too and I love the effects of this approach on the stills you posted. I remember "Marla". So, it's the same people, huh? Again, great job. And very inspiring. Have fun on your trip to Thailand.

Congrats Eric, the movie sounds like it's just right up my alley. Want to see it. Badly.

That's interesting. I though that the best thing about the film was synergy between poduction design and cinematography. Production design was Oscar-worthy, and I'm not just talking about that bubble spaceship or Queen Isabel hall with stars-resembling lights. Look at Tommy Creo's apartement for instance. Great work. Now, back to topic...

Lovely frames. Are they a lot like the what you shot on film in terms of framing? If that's the case, judging from the photos you've posted so far there's quite a bit of wide shots in your movie - and I love it.

Dear David, In Your great production diaries You mostly elaborate on lighting. This time I'd like to ask about framing/camera movement. What's the concept on "The Sophomore"? Any exciting technocrane moves? Noirish high angle shots? What were your influences/references when thinking about the framing on this movie? I suspect I'll find Gordon Willis on Your list, but he's probably on everyone's reference list, anywhere :-).

Thanks a lot Wendell, I had a feeling it was Chivers since he had a history with Muller. Well, I think this clip is one of his best works. Now checking out some work of this CRASH! gentleman. Thank You Adam!

I know about one in Poland, the MILO: http://www.platige.com/index.php?lng=en&tu=37. I believe the cost is about 10 000 $/day.

I might be wrong, but it looked like a virtual camera thing, i.e. done in 3d studio. Loved the video, BTW.

I was very impressed by the cinematography in this music video. I love earthly colors, soft side- and frontlight. It shows that you can make frontlight both flattering and natural... I mean natural inside some stylized structure the clip exhibits, which has more to do with production design and adorable use of front projection. Tried to find out who shot it, but I just got the name of a director: Sophie Muller. Anyone knows who was her DP? From what I gathered, Mr Wendell Greene might be helpful in this matter :-).

Beautiful... I too remember watching it on TV some years ago. The second picture is uber-gorgeous. How did they do the sky? Red filter?

Haven't seen the movie yet, but sure as hell will have to! In the first picture, the inclusion of the curved wall on the right is pure Willis! They could have shot it "clean", with just the skyline, but that wouldn't be it, would it? The second frame, it's almost metaphysical. Even not being aware of the scene context, the clock above the guy's head and the dead body seem to say "your time will come too". The weighing scale is also symbolic. On the third picture the face on the right stands out. I wonder why you don't get that much great frames in today's hollywood movies (partial answer is in the "Fight the close ups" thread, which opened my eyes :-) ). However I remember being very impressed with the framing in "Constantine", thought it was really outstanding in the use of negative space and symmetry. And "Flight plan" (while not having a very good plot) was also framed beautifully. PS. Thanks to the recomendations form this forum, I finally saw "Klute" on dvd. Framing it that one (especially in the beginning of the movie) floored me, too.

Many thanks, i'm glad to hear that. I'd also like to ask about how much input do you have (as far as visuals are concerned) when working with someone with a distinct visual style like David Fincher? When discussing the script, is he open to dp's ideas? For instance, do you have a lot to say in regards to camera placement or movement? Hope the question isn't stupid, Fincher is known to be a very technical director, just wanted to know if you're comfortable with that. Also, how long was the prep, considering Fincher was/is working on Zodiac simultainously?

I remember reading that the movie relies heavily on virtual sets (i.e. shot on greenscreen for like 80% of the time). Is that the case? On the other hand You were talking about shooting in low-light conditions, which, I suppose, is not the way to shoot for greenscreen. Could You clear this up please? What does "huge post" refer to?