DavidSloan

KINOFLOS...no doubt about that! unfortunately I had none. I feel kinda dumb cause I ended watching all the dailies at the director's apt after I posted this and most of the footage looked great! lol My perfcetionist, delirious paranoia got the best of me, tonight. By the way, David: A while ago I posted a question about various ways to emulate a sunset look on interiors and you suggested a blue fill with a deep warm tone coming from the windows, which I believe you used Deschanel as a reference. I just have to tell you that that has become an absolute staple of mine, and let me tell you it's a crowd pleaser every time. Thank you :)

Well this may seem kind of silly but I recently became a FILL LIGHT FANANTIC! I absolutely abhor any kind of deep shadows, especially the bib kind! And top lighting is also a big no no for me...sorry Gordon Willis fans :o I take my que from fashion mags, Sven Nykvist, and the recent work of Savides. Soft, large and far, baby! :lol:

I just wrapped a DVX shoot, tonight, and it was truly a nightmare. I have never been in a situation of lighting such a tiny space, and it was hell having to deal with shadows and trying to motivate the sources. It also wasn't easy to deal with the fact that the director is a coverage BEAST, and wanted to cover each master shot with a 5 to 6 tighter angles...something which goes againts every cinematic grain in my body. I had one large window in the apartment which I used to allow as much daylight to come into the apartment as possible, and the rest I just used bounce boards or helped it a bit by pointing a 1k into the ceiling with CTB...I haven't seen the results yet but I'm quite sure I will be disapointed. I hope never to be caught in such an undesiriable situation again, but in case I will does anyone have any tips on lighting small places other then just off the ceiling bouce? Keep in mind I'm a person who really doesn't like shadows in the frame, but when the location is so small there is no way to hide them! Any tips would be appreciated. If this post seems wierd keep in mind that it's 12:50AM and I was on set from 8:30 AM in a tiny apt with 15 people!

Don't you hate it when a director asks you to copy some elses look! :blink: My usual reply is "get him!"

What Adam said. I can't tell the difference between a BetaSP and a MiniDV...same muddy quality.

Digibeta is the only way to go, anything else is a compromise for financial reasons. If you plan to do a tape to tape, later on, make sure you get a digibeta master! If you don't plan to do a tape to tape or film to tape there is no point in shooting film. You basically arrived in car dealership with a Ferrari and left with a volkswagon. ;)

@Sam: You're right...although they use certainly use abstract imagery, which is what this thread is about. Have you seen Rabbit Pix by James Herbert?

It's pretty good on rye :P

I love this thread...is anyone here familiar with Michael Snow and Hollis Frampton? I couldn't find any images to show you guys, but those 2 are my favorite abstract filmmakers.

TAKE IT EASY! I wasn't trying to belittle you..I was honestly not sure if you were joking or not; considering how famous that image is. My bad!

@Grimmet: are you serious?

@audiris...all those shots are from Tarkovsky's The Sacrifice. I think Tarkovsky films have bar none impacted me the most. I tried looking for images from Stalker but couldn't find much. I just wrapped a short film last weekend that I wrote/directed that is heavily influenced by Stalker....we shot on S16 in a most wonderful and desolate location. The only thing though is that I'm now in MAJOR DEBT!!! :o Desperately need post money! lol BTW, I posted a pic of my self on my avatar can anyone see it, cause I can't?

Like a lot of you have already mentioned, it all depends on the director. There are some directors that bring a solid vision to the film and everyone is there to realize their vision: Kubrick, Mann, Tarkovsky, Angelopolous, Hou Hsiao Hsien, Kiarostami, etc... then there are directors that rely on the DP to create the visual pallete for them while they concentrate on the script and actors: Neil Labute, and there is everything in between.

Sorry Dave, it's a music video which will be telecined and then straight to TV, no prints/projections to occur. I plan on shooting this with deep focus and there will be plenty of night ext. The concept is a stylized, noirish look, about a woman who steals shadows. My lighting/camera budget is a mere 10k...project was originally set for 35MM now bumped down to S16mm since the budget went way over. It's looking like v2 500T. Thanks for the input, as always.

Any thoughts on what the advantages/disadvantages are? I have some b&w projects coming up and I'm curious if it's even worth shooting on a b&w stock. Does do that anymore besides students?

Check out his work with Kieslowski, too! :ph34r:

If you're using tungsten film, or have your dv camera balanced for tungsten, then you need to CTO the windows in order to "correct" the color temperature which is streaming from the outside, i.e., daylight. Daylight and tungsten lights are different temperatures on the kelvin scale: T=3200K, D=5600K. This is extremely basic information though, I think you had better read a basic cinematography book. Kris Malkiewitz's Cinematography, is a good start, for you.

tough question...I think I'll have to go with David's pick of The Apu Trilogyfor its humanity and portrayl of family. It certainly moved me, greatly.

There is a search function; please use it. I can promise you most of the members here are pretty tired of answering this question. I think some even amusingly suggested making an FAQ for this question. :)

A really neat piece...it's great to see our resident ASC member in action :)

Behold, a Chav- Chavster aka U.K wiggers

Well...I have no medals but I won a Kodak grant :lol:

Okay, my turn! :D NOW THAT'S WHAT I'M TALKING ABOUT...PERFECTION!!- you know you love it! :lol:

How about: "Can we try one with....."