Jonathan Bowerbank

I remember when this video first came out, truly excellent. I always want to say it was probably shot on Fuji stock, but that just may be the color of the lighting influencing the palette and leading me to think that. Fuji does have a special responsiveness to the color tones used, so maybe I'm right.

Standard procedure that I usually follow: 2nd AC removes lens from case, takes off front & rear caps. Carries the lens with both hands to camera. While the 2nd AC is enroute, the 1st AC loosens the mount. 2nd AC arrives, extends his right hand with the lens, gripping it by the barrel while holding out his left hand in the cupping position. AC's place the lenses in eachother's cupped hands, say thank you/got it/etc., end of transaction. Of course, conditions change the method, places with a lot of moisture, wind, debris, etc.

Various tapes I always have in my kit: 1/2" Paper Tape, for marks in various colors, but usually neon green & neon orange hanging on my belt. 1" Camera (Cloth) Tape (Red, White & Blue, Black) 2" Photo Black Paper Tape (A MUST HAVE) 2" Black Gaff Tape 1" Electrical Tape for labelling multiple cameras (Red, Blue, Yellow, etc.) 2" Gorilla Tape for taping rain gear 2" Mag Tape

Oh, didn't realize you'd captioned the photo, saying it was a yellow filter at 45 degree angle...at least I sorta guessed right ;) It appears to have a dichroic effect, you may be on to something.

Save your money, visit some rental houses, and see if they'll let you get to know the cameras. It's mutually beneficial, and most houses are open to it. It's also a chance to meet some of your area AC's, some of whom you could probably apprentice for and learn the realities of AC'ing.

I dunno, to me it looks kinda like a Hot Mirror, covering half the lens and swung away from the lens to reflect the male figure who's standing to the side of the camera, creating a trippy double exposure type effect. Which is why he appears soft with the evidence of a slight double reflection coming from the outer and inner panes of the filter itself. I have a Red/Green polarizer that I've used to shoot stills with...and I long for the day where I'll be able to use in on a shoot:

I haven't tried O'Connor's yet, but if it's anything like their other products, it's hopefully just as solid and well designed. It certainly appears lighter than an Arri FF4, so if weight's a factor, it's worth trying it out. But still, you can't go wrong with Arri.

I never truly understood things like proper exposure, ISO, f-stop, shutter angle, etc. until I started shooting film. Even if you plan to work in video for the rest of your life, it's a base that you really should start with.

btw, can I just say how AMAZING Blade Runner looks on BluRay? :)

That doesn't sound right does it? A 180 degree shutter angle is a 180 degree shutter angle, it shouldn't give the footage any kind of narrow shutter effect...unless the RED does something different with its electronic shutter. At 48 fps/180 shutter (effectively 1/96 shutter) it'll be sharper of course with less motion blur just from the frame rate alone. Opening up to 360 degrees (1/48) would seemingly defeat the purpose of what they're trying to do, achieve sharper motion with less blur and avoiding the strobe effect which we've all seen at the projection phase.

Of COURSE he did...an excellent resource :)

I'm so glad a Russian was the first to respond to this :lol:

A lot of it has to do with the direct heat your focusing onto the sensor. Through a Letus adaptor, it's most likely quite safe since the heat from the son isn't hitting the sensor directly, but is being filtered through a ground glass. If you're just on your regular lens, don't LEAVE it pointed at the sun, get the shot then point away so it stays cool.

The opening sequence of "Up" Any Jacque Tati film "Run Lola Run" comes to mind, in terms of telling a story using a very kinetic style of filmmaking. "Jaws", for its use of emoting what we can't see. "Assassination of Jesse James", sans its narration, which I really don't care for. "The Proposition", so many excellent visual choices in it, and every one works for the story. Especially the scene with Emily Watson in the bath. "A Simple Plan", excellent practice in pacing and letting a film "breathe"

Just checked out the trailer and noticed Michael removed his name as director and now there's an "Alan Smithee" type name, Larry Smith, credited as director. The brothers are writing credit is still there though, so I'm curious what happened during this long process of post-prod and distribution that caused his name to be removed :/

So it just uses the same principle as with any other element in the world that absorbs light and reflects, which makes it the color see. Hence the reason for white balancing when an IR filter is down (because of the green cast), whereas with a Hot Mirror it's not AS necessary it seems.

I think Mole Richardson has an internship program, you could contact them and find out more I suppose: http://www.mole.com

I think the F3's a good choice, robust and familiar like the EX line. If your going to a KiPro mini, beware of this one "gotcha". In your menu settings, be sure Display Out is turned off completely. If you leave it on and set it to turn off and on using the Display button on the side of the camera, the image you're recording to the KiPro will have a bit of mosquito effect, subtle, but it's there.

Can someone explain how an IR filter is able to "absorb" IR light? I tried looking for specific explanations, but no luck. Just that they have special "technology" that absorbs it. Is this just a fancy word for a different way of reflecting away IR? Where it's not simply cutting it like a Schneider TruCut, but perhaps using micro particles in the filter that simply scatter the IR light? Anybody, anybody?

Besides your own preparations (plastic rain covers, clear shower curtain/tarp for covering carts, cloth diapers for dabbing off any water that gets on gear) make sure the Production crew and PA's are going out of their way to get canopies and umbrellas to set, where camera is going to land. Often, it falls on the Grip dept. to set up an overhang, so before you even take the camera out of the truck/staging area, make sure steps to getting your rain protection are happening. Umbrellas are useful though, for when you're on the move, so it's good to have a designated Camera PA in charge of it if you have the luxury

Basically the same thing, and they serve the same purpose, I think it just depends on whether a specific brand chooses to call theirs an IR or Hot Mirror. Different brands have different characteristics in regards to how much IR they remove, so it's worth testing between say Tiffen or Schneider, to name a couple. Having IR/ND combos has had its problems on a couple shoots I've been on. If you want to stack IR/ND's, there can be reflection issues between the filters, so it's best to just have an IR out in front, then a couple stages behind it for regular ND filters. Besides, with the newer MX and Alexa chips, IR contamination really isn't a huge issue until you go over 1.2 ND or so, as I've been told by DIT folks. So having the lighter grades of ND equipped with an IR overlay is overkill at this point.

The basic prep practice (described in any AC manual) of always taping out your lenses to make sure they're sharp (starting with each lens' close focus, then working outwards) will always tell you if there's something wrong, whether the lenses are out or the back focus is out. At which point you alert the rental house's tech and they should troubleshoot it for you. Testing out all the lenses is crucial, because if it's just one lens that's off, then obviously it's that one lens. But if it's all the lenses, then certainly there's a backfocus issue.

I just hope they plan to get enough LED's to create large sources, by modifying them to create large 2' x 4' or 4 x 4' litepanels. Otherwise you're stuck with smaller spotty LED's that won't give you much coverage for a scene's wide shots. If they're set on LED's, I'd make this point and make sure they replace the Kino's with light sources of similar source SIZE :)

I'd get in touch with Dane Brehm, he may have a lead or two for you.

Haven't seen it, but have had a few discussions with people who have. I take it the film should have gone either way, super serious and well done or super campy and very enjoyable...I guess they tried to hit a middle ground and failed miserably.