Brett B

I personally felt the My Boo video was extremely boring and uninspiring. There was nothing to the video and I personally did not feel the cinematography was that good. The images felt flat and over manipulated and there was nothing interesting about the way in which it was lensed. I think, in terms of cinematography, Kanye West's ?Diamonds are Forever? is one of the best new videos.

Aaton LTR-7 are not factory made super-16. If you want your LTR shoot super -16 you need to get the gate made wider and the lens mount then needs to be shifted. I think it costs in the range of 2,000 but I am not sure. Best of luck.

The other advantage is the color temp. can be changed so easily. Just switch the bulbs and there is no output loss. They are really great fixtures.

I agree with what was said above but would just like to stress one thing, that would be to put the best possible lens in front of either camera you deciede to use. The lens affects every part of the image and can either make or break the finished product. Best of luck.

I totally agree with what David just said. The areas you really need to watch are the highlights. That why I always make sure there is plentty of ND because if you shoot near a window you usually are going to need to ND the window or make sure you have plenty of light to bring up the inside. Also, make sure you have a good hood or something to block the light off the mintor because it can be decieving if you don't. I hope this helps.

When I shoot in a hallway I usually like to kick light through the doorways. If it is a night interior I usually kick some harder tungsten out of only a few then a softer daylight balanced fixture through the rest so they goes a little blue. Then rig a few small fixture overhead in the hallway to creat just a few harder pools. I hope this helps you.

Yeah, the one in New York.

Hi David, I just wanted to know if you are going to be on the ASC panel at the DV Expo event. Thanks.

I must say I have not seen the film but it sounds like they just pulled the stock like you said. They over exposed when shooting and then printed it down durring processing.

You should never telecine from 16 to a low res format like Beta SP. There is so much that is lost. Even if you are not going to edit from a digibeta master or HDcam master you always want to master to the highest format and then downconvert. This way if you ever get the money you can just conform your lower resolution project up to the digibeta or HDcam master. Don't sell yourself short. Best of luck.

They are more expensive for two reasons. One is they put out more light than a standard Fresnel HMI. Second is they come with lenses which allow you to focus light.

If you are not doing a DI then you will want to light using HMI and daylight balanced Kino Flo fixtures. You can also use tungsten lighting if you put CTB on the fixtures. You are going to need to use a large amount of light or push the film a stop or two. Because the film stock is fine grained you will have the room to push the film a stop or two. Best of luck.

I wanted to know if anyone knows of a camera car rental service in LA. I am looking for a car that tows another car. The type of car that a a platform for the camera to sit on. I am from the East Coast so I am not familiar with LA rental places. Thanks so much.

In my opinion Roger Deakins is one of the greatest modern cinematographers. He was the DP behind some of the most visually beautiful films. He shot A Beautiful Mind, The Village, and The Shawshank Redemption just to name a few.

The short answer is no. The big difference you would probably see is in the lenses you use. That is going to affect clarity and often color. When using the Konvas 2M you loose features like time code, and you can not over crank as far. Also, you may not be able to mount the Konvas on a seadicam, I don't know if that is important for you or not. If you cant really afford to shoot with the 535 than don?t push it. Get some good lenses and you will be fine. Best of luck.