Daniel Carruthers

John Carpenter and Kurt Russel on Big Trouble In Little China.- funny! they go off talking for like 15 minutes about random stuff that doesent have anything to do with the movie Frank Darabont on Shawshank redemtion- a good commentary lots of insight and techniques Kane Hodder and John Carl Buechler on Friday the 13th part 7 The New Blood- listening to them bash the MPAA for cutting down their movie.

oops posted your message back at you! I just finished watching anniehall on t.v. I dont have a clue what stock he used. hmmmm maybe it was my telivision but it seemed to have very low contrast. crushed blacks. i dont know? I wish i knew sorry to waste your time, i was thinking about that movie before i logged on hear so thats why i replied!

its been awhile since ive seen one of his movies, maybe keep the light hard not diffused, most stuff from that time had hard lighting.

i wish i had the equipment you had on my feature! i finished one over the summer its in post-production now. but all we had was 3 worklights that we got from home-depot with barndoors wielded on the sides! did you know baking sheetpaper works quite well for diffusion? and it only cost 2$ for a 20foot roll. I begged the producer/director for a decent lighting package, he just sayed NO WAY!! THIS AINT LORD OF THE RINGS!!! luckily it was a horror film so we wanted a dark gritty look anyways,and looking at the rough cut i wouldent change a single frame in it.

depending on your lighting package,and your motivation for the source of light, are the actors lit by moonlight or streetlight or both? is the light only coming from the house ,and make sure the house is warm and bright, I'd put some lights in some bedrooms so you can see it from outside. its hard to make suggestions because i dont know the scene or location?

okay thanks i'll keep that in mind

hey I shot a movie using red gels and magenta. it was for a night club scene. i find magenta to be to pinkish its definatly not red! I understand your concerns about sharpness.But every one knows darkrooms are red. I would maybe try using calcolor reds,you can get them in different intensitys, maybe even mix some red in the magenta, try calcolor red15 or 30, that way theres more red but you still wont just be exposing the red layer? As for the print developing, thats a great idea, Ive never tried that technique but it makes sense to me.

i like mixing halfblue with calcolor 15 cyan

okay thanks i'll give it a try

hi, im shooting a documentary with 2 dvx100a and 1 dvx100b, and ive gone through all the settings and each camera still looks different. My camera looks good, the colors are rich and saturated the colors look accurate to what they look like to the human eye , but the other 2 are flat and desaturated? Ive white balenced under the same light, the settings are all the same, ive even lowered my settings like the chroma level to the negatives and brought up the chroma levels on the other 2 cameras,and still my camera is more colourfull? Am I missing somthing hear?? any suggestions?

I like his lighting and choice of lenses, i like his lighting fade outs and his use of diffusion, though i dont think he used any on the aviator? Okay okay it dident blow me away,but it knocked my socks off!!!

I saw half nelson, it looked like a shoulder cam to me and yes the camera op would just move the camera. I personly dident like the camera work, I found it to distracting, i know what they where going for i just wished they toned it down a bit . the movie lost in translation had the same technique, but it worked so much better in that movie alot more sudtle,

for the 90s i would say-robert richardson -roger deakins -dariuz wolski these guys images still blow me away. i love richarsons work on the aviator and casino,hes a real artist with light. for this decade i would say -dion beebe - fred murphy -and paul cameron