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Liam Dale

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  1. Thanks, Scott. Could you recommend a capable 3d program I could track down without too much expense? -Liam
  2. Any ideas, guys? Maybe someone knows another visual effects board where I could ask?
  3. I wondering if anyone can tell me if there is an equation for maintaining the relative size of a primary subject during a zoom dolly (For instance: Starting 10 feet from the subject on 100mm lens - a camera dolly of 8 feet over five seconds requires an 80mm zoom to maintain the relative subject size in the frame). What is the relationship between the two movements? Thought game - would it be possible to link dolly to zoom mechanically? -Liam
  4. I wonder if the difficulty that blu-ray faces has more to do with most people not having the proper equipment/knowledge about equipment rather than carrying one way or another about quality. I mean, I know more than one person who bought an HDTV, but doesn't even have it set up to actually watch anything in HD. It is probably true that most people just settle for "good enough", but I think that would be more true when looking at home entertainment then going out to see a show. You don't expect your home set-up to be as good as what you see when you go out. You pay for a movie to see it on a big screen in a better format then what you are capable of seeing otherwise. IMAX presents a format that can't be compared to by anything else and certainly showcases the beauty of film. Sure, HD video is eventually going to take over for 35mm as a capture medium, but large format film is still going to hold an edge over it.
  5. Thanks for the responses. I'll look into that year pass. Is there not a lot being made right now? Or, is the industry there more of a good ole boys club (like some have said about the UK) making it hard to break into? -Liam
  6. I may have an opportunity to spend some time in Paris in the coming year and am just curious about the state of the french film industry at the moment. Is there a general feeling of slowing down such as is expressed about the US industry in a few threads on this board? I've only been out of school for a little while and wouldn't even be going to Paris specifically with the goal of finding work, but I am wondering what sort of projects are currently getting made and what the community is like. For instance, I imagine there are a fair share of theatres that will show both big budget and independent films, but I don't know anything specifically. -Liam
  7. I've heard that Bela Tarr shot on Kodak stock, but could anyone give me a little information about the specifics of this beautiful film? -Liam
  8. man..now even more confused. The link suggests that long exposure times are a neccessity, but above I'm told I could shoot 24fps...
  9. Thanks for you responses - but two follow-up questions. I'm a still a little confused about how bright the moon is exactly. How much darker would you say, on average, the moon is than the typical 18%? (I'm not familiar with lunar geography, so I'm not sure which features listed above account for the majority of the lunar surface) Also, do you have any idea how much darker the moon will be during the full eclipse? I would like to be able to capture the differant colors and would consider your suggestion of using an ND and then removing it during the full eclipse - but it seems that would create quite a discordance between the darkness of the half eclipse and the full. Not neccesarily a huge problem, but if it were possible to split the difference and overexpose the regular moon just enough that I would still be able to see the colors, that would be preferable. Again, thanks for all the responses. -Liam
  10. It's been frozen and I'm not exactly sure, but I know it's less than three years old.
  11. Do you just spotmeter the moon? And any ideas about an effective focal length?
  12. Hey all, So there is a lunar eclipse tomorrow night which I was thinking about trying to capture on film, but I've never shot the moon before and am looking for some advice. First of all, I would be shooting on 16mm Kodak 800T and I assume that I would need as long a lens as I can find. I don't have a telescope to shoot through, so would it even be worth it to shoot with, say, a 200mm lens or would the moon just be too small. Also, can you just spot meter the moon and work from there or is there a better method of figuring out the exposure? I would guess that it would need to be timed exposures (thumbs going to be tired from that cable release). I know people tend to just shoot stills and then layer them together into films, but you work with that you've got I guess. Any tips would be appreciated. Thanks. Liam
  13. I'm not asking to be an appretice, I wondering more generally if you hear of it happening? There is so much talk about how film is an industry that you need to know people to work your way up, that you CAN work your way up, that it is debatable if going to film school is a worthy enterprise. Like becoming a violin maker, a carpenter, or any other occupation that there seems to be a need to "gather" information through practice - it seems logical that filmmakers would take on apprentices to pass on their knowledge. And I don't mean interns who just come, pick up a little information, and then head off, I mean have you heard of any significant cinematographers, directors, etc. taken someone under their wing?
  14. Hey all, I'm just looking for some more information about VGIK in Russia. Know anyone who's gone through the program?
  15. I don't have experience with the 6080, but on my Nizo Pro (which is quite similar) it seems that once you put the lens in macro you adjust the focus by small movements of the zoom control handle. Rather than using the electronic zoom controls I would put it on manual zoom control and just adjust the zoom (now functioning as the focus) on the lens barrel. I have not actually shot macro with my Nizo, but just playing around with it and visually this seems to work out fine. Maybe someone else with a little more experience can chime in.
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