marc laliberte else

thanks guys, very much appreciated.....

hello all, I will be shooting anamorphic for an upcoming commercial in vancouver (finishing for TV). For convenience and budget reasons the production would like me to use clairmont's anamorphic choices (hawk or A lenses?). Now I love clairmont, and they have been very good to me over the years, but all I've heard from other DP's is that the panavision C or E series are the only ones to use. I would love to get some feedback on this from anyone with experience with this format. Also seeing it will be my first time using this format, if there are any pitfalls I should avoid that I may not be aware through basic research (ASC manual etc...) please feel free to offer advice, thanks in advance, marc laliberte else

I found through experience that netting the back of the lenses works much better on 35mm. 16mm is inherently grainier and if the net isn't stretched enough it really breaks down the image too much for my taste. Especially if you are using a higher speed stock and exposing at the toe end (usually nighttime shooting). If you do shoot it, make sure it is stretched tighter on the long lenses (just like you would when using front diffusion filters, heavier on wide lenses, lighter on long lenses), but because of that you will need to check the back after almost every good take to make sure the net hasn't come off the snot tape holding it in place. Some older lenses have screw in rings which are much easier to attach the stockings to but you give up even more sharpness. marc laliberte else

hi mike, thanks for that. Glad to hear from you. mle

hello, just watched the gondry film The science of sleep. Loved how raw the visuals were, fed the story perfectly but did not get to see the making of... Anyone know what they shot on? I have heard that shooting for him can very difficult (my gaffer in LA has been on a few of his video shoots), but that when it's all over it is worth it. I think he is a very brave, unconventional filmmaker and derserves credit for his vision. marc Laliberte Else

I find that if you ar eexposing for the fireball itself with nothing in th e FG or BG worth keeping at exposure then a deeper stop gives more detail/chrominance to the flame. the brightest part of the explosion is v. quick though so if you are not shooting 150fps or higher then the 5.6-8 rule works as it keeps most detail in the burnout. mle

hello, this is my first query to the site so I may be rusty with protocol and the basic running of the forums but here it goes. I'm shooting a gatorade spot which calls for a shot that goes from an ECU into the iris of the eye and we have no money for MOCO. Any suggestions? A macro lens needs to many turns of the focus barrel in the final few inches and I do not know the experience level of my focus puller in pittsburgh. Hence my problem. Any suggestions.... mle