Jonathan Bowerbank

The daylight spools block out most light, but there's probably a few feet on the feed and takeup spools that were exposed and are useless...or artsy/stylish ;)

Whichever source is his key would have benefited from a large frame to expand the size of the source and cover not just his face, but his hands and guitar as well. It seems a bit spotty in the wide shot. The candle light doesn't necessarily HAVE to become a source, but perhaps something warm for fill would have sold the romanticism and practicality of the prop. Some candles in the background would have been nice too, along with that warm/reddish light splashing on the wall.

I don't really remember anything in the film that would have required the DI at all...this film could easily have been timed photochemically, apart from the few effects shots. I haven't read the AC article yet, so perhaps it delves into it a bit.

7217 looks great for exterior work, it's the way to go :)

NEVER cared for the nylon belts. I almost always wear a black leather belt for casual wear...and when that's starting to look a bit beat up and I get a new one, the old one becomes my new work belt. The leather just feels so much more comfortable to me.

I'm about to trade in my Cinebags for a Lindcraft. It's holding up fine, but at times is just too bulky for its own good. Been thinking of a chest pouch since I saw a 1st AC using one on a recent show, and he sold the idea to me...can't remember what brand it was though.

If a 1st has a good 2nd, he hardly has to wear anything on his belt. It's usually the case when I 2nd for somebody. But whenever I get a 2nd I find I still have to wear a large amount of gack...largely because my 2nd is a student and not as quick as I am (wink wink), ha ha I asked a very experienced 1st who I work with from time to time if he ever wears a belt like mine when he flied solo, he said certainly, so I guess it just depends on what sort of support you have in the camera dept.

I didn't notice these at all. It may have been the projectionist's fault by not filling the screen adequately, so you're left seeing all the way to the edges of the projected image. Whereas normally those vignetted edges would spill onto the black curtains surrounding the screen. There were a few toughys for the focus puller. Namely one where Pitt was taking cued long strides directly towards the lens. Focus is so critical, it can be sometimes nearly impossible to get what you want in focus (the eyes). But in that shot it looked like he may have even gotten so close to the lens that he was beyond minimum focus.

SF's summer is just starting, anyone up to try this BBQ thing again?

http://www.photoflex.com/store/index.php?cPath=2_18_21 Far cheaper, and pretty much just as good as Chimera baffles.

A Joker thru a Chimera and hooked up to a block could provide adequate fill. I've done this while shooting a simple "walk & talk" with the light mounted to a handtruck behind camera, and it worked well.

I guess he worried about spoilers in those lines, although they hardly are.

It was pretty great. My dilemma was to either see this or "District 9" last night, but I was more in the mood to watch a film that was more disciplined, precise in its framing and perhaps even polished, and that's what I got. Tarantino's dialogue this time around is the best I've heard from him. Unlike "Death Proof", every scene, every line of dialogue serves a purpose to drive the story, to build a certain amount of tension and to efficiently establish who the characters are. I was quite impressed. Richardson's work was fantastic as usual, with his signature top light appearing often. I'm kinda wishing he had shot the most recent Indy movie now...his style and the way exteriors were handled was the way I pictured the new Indy movie to look. If Indy 5 does happen, I hope he gets the job. My only thing about the film is that I wish there was actually more of the actual 'Basterds', but I didn't expect Tarantino to stick with just one group's story.

Managed to work with a set (sans the 300mm) a few weeks ago on a commercial. At first we thought the markings weren't taping out, but it was just a back focus issue. Once that was fixed, they seemed to perform beautifully. I can't speak for their optical quality, but the DP seemed to be very pleased in tests he'd done and this shoot was the set's maiden voyage in production. They handle and feel similar to Master Primes...I'd hesitate to say they even compare though. Comparison tests are very much needed :)

Thanks Jamie! Yeah, I'm just curious how much of it is from the Phantom, and how much of it is a result of the lens choice.

On your PA jobs, it's perfectly alright to make it known that your keen interest is in the Camera Dept. I regularly am able to have a PA assigned to the camera department. It isn't glamorous, mostly just moving carts, charging batteries and helping to load the truck and stuff. But if you're a rockstar PA for the camera dept, it's a good way to get noticed by the 1st AC and possibly get a call for future opportunities.

There may have been yellow as well, I only had 3 to 4 seconds to analyze the shot. Check it out for yourself, I'd like to know what you think :)

Not sure what your location is like, but just check out other movies with bar scenes and see if you can't steal some ideas from them.

Saw it, and enjoyed the camera work very much. My only comment is regarding the Phantom high speed footage. Was it just me, or was there a hint of chromatic aberration in the image? The shot of the ground shaking during an explosion seemed to have that purplish-blue tinge around the edge detail of the shadows, also making it appear quite soft. Noticed the same in the other shot of the bullet shell hitting the floor, only it wasn't nearly as bad. I suppose it might have been caused by the blowup to 35, but I was curious what you guys thought.

When I was a kid, in the still early days of cable, we had the Disney Channel. I remember watching it on TV then, and taping it with the VCR, a tape I probably watched over 100 times. Love it, and still do, even if it doesn't hold up as well nowadays. But I was super stoked when the test/teaser trailer came out for 2.0. Hopefully it'll happen.

UNLESS...it's the kind of situation where it's a Union show, and you're really a 2nd AC, but for union reasons you're credited as a PA/Intern. In that case, bring your "A game" :)

It like, as a Camera PA, that you're really just there to be a sponge and soak up information from the DP/AC's...and to set up the monitor(s). Just follow direction from the camera crew, and if you have ANY questions, always ask. As a PA, it's a good time to learn as much as you can without seeming like someone who's too inexperienced for the job of an AC.

Ran across this story about the release of "French Connection" on Bluray: http://halmasonberg.wordpress.com/2009/02/ It's on my Netflix queue, just so I can see what they're talking about. But has anyone else seen this version?

Pretty good deal. Raw Stock is a good source for cheap stock: http://www.raw-stock.com/recans.html

Happened to me today, and happens on average almost every show I go on. Somebody knows me either from these forums, or Facebook, or whatever. I can only assume Karl is this forward and opinionated in person.