Matthew Bennett

I'll stand up for this film, I thought it looked fantastic. Lots of natural light, scrappy handheld, backlight, but never a bad shot, some really incredible moods and lights, actually! I've never been a sean penn fan, but I liked this film quite a bit.

Yes, Andrzej Sekula, the dp for pulp fiction... I was watching "vacancy" the other night, a movie Andrzej Sekula shot, and was noticing the complete mastery of a palette of earth reds, dirty yellow/oranges, with touches of green neon... His color palette grafted such a sickening yet earthy/bowels/underground mood onto an already frightening film. This color palette was what I thought was one of the most striking things about pulp fiction, too, the constant attention to reds and yellows, where it creates a happy mood in the flashback with Christopher walken, then has this hellish effect in the basement dungeon rape scene. He's so good with these colors that he can create nearly any mood from them. But back up to the original thread post, I think also that rear projection in the cab scene is in black and white to boot, further making it look 'fake'.

Just watch out for red in your stool. <sorry couldn't resist Thanks as always for the informative posts

I'd tell you but it would take exactly 30 years

Play the song in slo-mo to match the cam's frame rate...

I saw this the other day on dvd - was really impressed by the cinematography + unity of the general lighting plan. Cinematography by Yuen Man Fung. It is shot with a simultaneously ultra high key and really dim look. Combined with the crumbly grey/green Hong Kong backdrops, general filth everywhere (one extended scene takes place on an enormous pile of garbage)... it gives the impression of a nightmare, with a great clarity to the feel of space but also a strange, confused half-light... Anyway I really dug it, I'd say its worth checking out. Story wise it's just incredibly grim, depressing and brutal. I really got interested in ultra high key light by watching this... very high-con single source lights, shafts, cuts of direct sun. I shoot almost entirely with the DVX100 andromeda(RAW). It has a nice dynamic range at 10bit color, but still has limitations. High-con lighting to me seems very mysterious, mystical.. and also nicely uses the limited range of video as an advantage rather than a disadvantage.

Thanks for the interesting 'behind the deal' information, fascinating to hear about. Love those Todd Hido photographs, all the wet, misty atmospheres and single color schemes. I love fog and obstruction, distortion. The Hido portrait work is great, too, is that an inspiration or is it just the landscapes/interiors?

The Andromeda system highlight handling is a lot more mellow and feathered than what the DV NTSC compression does from a DVX tape output. Compare for instance the two screenshots above.

Please post stills when you shoot, I'm very interested to check out the quality of bokeh produced by this combination of adapter elements.

A draft trailer for a film I shot (part of) using the andromeda modification for the DVX100a. Its a great system for color correction. The only drawback is the DVX lens which is nice, but you sort of run out of options pretty quickly during a feature shoot. The website is reel-stream.com http://www.stickypod.com/videos/uploads/27...4_2000_fast.mov

Claudio's work is incredible. I always use him as the example for budding DP's to say "this is how good you have to be to get work". Also in Claudio's 'journey' description he forget to tell us about the part where he became a master of light, color, design and lens. That growth to me is a big part of the artist's story... How about it Claudio??

Congratulations! Just wondering, when you show it at festivals, what exactly do you show, a tape, a film blowup, or what? What sort of process did you use to get the SD footage to that point, also.

Curious, what numbers would you see as a success, Richard? Also, why no theatrical intent for your film? Isn't that 'the dream'? re: polley's film, how marketable is a movie about old people anyway, (god bless them).

Well, get your film out and show them how it's done, Richard! Any new trailers or anything, by the way?

Good strategies guys.. . Can't wait to see more on this...