Jamey Johnson

The new Magic Bullet Looks has a "shutter streak" preset that is pretty close to the effect.

Everything looks great. It's nice to be able to see them at a decent size. It didn't take long with DSL. You might want to move the "Next Page" link up at the bottom of the first Commercials page, so it's as visible as it is on the second page.

Tarsem Singh

Andy, What were the shots of the guy with the cellphone shot on?

Looks good as usual Christophe ;) . You should try a larger version though. I always love your Demos, but they're always so small.

For anyone interested, I found this article about the beginning and end sequences of the movie: http://www.vfxtalk.com/forum/showthread.php?t=9466

Finally got to see it last night. The whole thing was amazing. I thought it was just as beautiful as "Northfork". They're just two completely different movies with two different temperatures. I know you've posted about the setup for the gymnasium scene, but what did you specifically do to get the diffusion look for the glass of water and pitcher for that scene? Was it intentional? Also, did you shoot the shopping cart in the parking lot of the supermarket? My girlfriend and I literally laughed out loud when it came on screen. It was so simple, humourous, and nice looking.

Flipping through the channels today, I caught a story on Astronaut Farmer on Univision. There was footage from the movie, an interview with Billy Bob Thornton, and footage from on set. The on set footage showed David Mullen ASC sitting watching a couple monitors.

Dan, You can find names of DP's, crew and production information at www.mvdbase.com A music video sub-forum might not be a bad idea though.

My apologies, I didn't mean to make it sound that bad. I realized what a terrible description it was and wasn't able to edit my post.

No offense to anyone involved with the first season, but the backyard was a big problem. It was very "Brady Bunch " looking. It wasn't as bad when the camera stayed there or for the night shots, but there were a lot of daytime cuts that went between the frontyard and street to the backyard.

Brian, I'd like to see the 200d ektachrome when your done- if you are able to post it.

In regard to the "painterly frame", do you find it hard to maintain that standard throughout a shoot. I rewatched Northfork last night, and every cut in the movie is painterly, and it doesn't let up through the movie. It made me wonder if there are often shots that are cut or reshot, not because they are bad, but because they are not as majestic as the rest.

I wanted to ask this myself, but didn't want to be the one who asked it ;) . I thought the same thing when I was watching Epert & Roper- maybe not to the extent of "little to do with" the Polish Bros., but definately a shared vision that is not often credited.

If you were to open the trailer up with some of the visual effects or even the shot of the truck, it would help. Establish the scene and some production value before you introduce the shots of the soldiers by themselves.

You may want to try different compression settings in Quicktime. The interlacing look/compression distracts from the nice shots you have in there.

I caught the Ebert & Roper "two thumbs up" the other day on television. They praised the cinematography and Billy Bob Thornton's straight performance. I'm looking forward to seeing this. I'm almost positive you mentioned this, but I can't find where I read it- What did you use for the POV shots from the press/media cameras?

Hey Brian, What was the Puppies short on your site shot on? Wasn't it posted on here previously? It looks familiar, but I couldn't find it in a search.

Thanks for the responses and the specific examples. It's harder to find examples than I thought it would be. I'll go through the posted movies. On a different subject, does anyone know how many posts I need to have in order to fix my typo and for my posts to show up in "recent posts".

Does anyone know where I can find outdoor anamorphic lens flare samples/grabs with the sun as the source? Direct sun shots and magic hour shots to be more specific. Thanks!

The actual size of the letterbox is changing also. The aspect ratio of the video is changing slightly when the color of the letterbox is changing. It's not apparant on those frame grabs , but it is on the actual embedded video.

Not to get off the topic of Superman, but still in the topic of comparing releases: I just rewatched 2001 and compared the latest release to the one before it- what a quality difference. Also, I rewatched the Remastered version of Lawrence of Arabia last night. Does anyone else find it so bizarre the ADR for the Remaster was done 25 years after the release. Also, I find it so hard to watch without constantly thinking about the shots that were borrowed from the movie. Every so often I expect to see Indiana Jones or a droid to appear in the scene.

Personally I prefer the funeral shots in The Astronaut Farmer over the Superman funeral shots, but I can definatley see the influence. The thing I love in the Superman frames is the soft vignette, especially in any of the landscape scenes.

For using the typical rap video visuals of the girls and cars, it looks really good. I think your lighting is making it look better than most with the same visual elements. I love the first two, I think they stand out more because of the blonde-ish hair. In the third one the girl with the darker hair, it just doesn't pop quite the same. Nice work, I'd definately be interested in seeing more.

Thanks for the replies and also the bonus info. It's very helpful. I have a tendency to over think shots right now, but I know how awful it feels to review footage and realize how I could have done it better, and also the pains of doing reshoots if possible.