DavidSloan

Wow, lookey, lookey...a fire, mommy!

I don't have much experience, but I agree with the pros...these things have a real tendency to flake out.

From my readings and speaking with other DPs, Pars seem to be very common for emulating street lamps. While they are 1000w they are supposed to have an incredibly long and powerful throw...sort of like a street lamp. I'd be curious to know if anyone here used them for night exteriors before. I know Ericson Core used Pars on Daredevil, a lot.

Being a huge fan of Fuji film I'm considering 400T for some upcoming projects. I'm wondering if anyone knows some films that were shot using this stock or if anyone here has shot a film on this stock. Thanks

I shot a few rolls of that stuff, it seemed a tad grainy but color reproduction is very nice, and just slightly muted (the way I like it). I find 7218 to be a great stock as well, great grain structure, but I'm not crazy about its color reproduction...too saturated for my taste, and most shoots I do have no D.I money so I don't usually use it unless I have to. I also recently shot a film on 7229, and I really liked the stock, it seems to be less saturated than 7218. I did push it 1 and it was grain city, but actually worked great with the scene so I got no complaints :D

Hey guys, I need to light a looong dark street, at night...the location has a row of street lamps but they give me no useable reading. I'm thinking of flagging off all of the street lamps, about 6 of them, and setting up a row of Par 64s. I never actually used Pars, I've used 2K fresnels for street lamps but I know that Pars are usually used for night ext work. Can anyone offer any advice on the use of pars? Thanks

I like your framing, a lot. I think some of the exterior stuff is framed very well and has some soul to it. Perhaps the lighting is not so strong, but for a film student your reel is just fine. Obviously it's an advanced student's work not some shlock. Good luck to you.

Is this really Vincent Gallo? That's interesting. What the hell are you doing in the 99 problems video?! lol :D

Hard light, hard light, hard light. And plenty of double and triple shadows LOL!

Hey DP: good looking stuff, there. Would you mind telling us what camera you used, lighting package, stock, and budget of film. Also, what is the length of the project? Thanks! :)

I was going to say John Ford, as well. While Griffith did direct over 500 films, much of those are 2 minute shorts. Let's not forget Stan Brakhage who created over 300 of his little experimental pieces.

I recently shot a short on Fuji 64D and I'm in LOVE with the look...shoot it all Fuji 64D!!!!!!!!! LMAO j/k. :D

Well the footage came back today and nothing happened, no fogging or anything...it looked great. Btw, Fuji 64D is absolutely superb! I'm in love with its toned down color palate. A most beautiful and mute stock. Will be using it again, soon.

I don't know what film has "the best tracking shot EVER," but it has to be either in a Bela Tarr, Milkos Jansco, or Angelopolous film, I'm sure. Has anyone seen Angelopolous's new one The Weeping Meadow...it's incredible. I almost forgot the amazing tracking shot at the begining of Code Unknown by Hanake.

Oh god this is so Fountainhead, I think I'm going to puke. You sir are no artistic martyr of the cinema. There are plenty of people here who love art films, such as myself. Everything from Bela Tarr and Michael Snow to Tarkovsky, Jodorwosky, and Wajda with plenty of good experimental stuff in between. Your film is no where near that level of mastery, poeticism, creativity, or depth. I don't even see that you have a basic understanding of cinema-your cuts are atrocious. This is just your basic 1st year film school dung. Genius...a different kind of cinema...LOL And let's not further disgrace Ed Wood (he's not that bad), you might give Paul Morrisey a run for his money, though. "There are more and more people who are bored with the ordinary and the archaic methodology of the present day cinema scene. It is a time of change." Lead the way, Jean Luc, lead the way!

No one mentioned Russian Ark?!?!?!?!?!

Just curious but what did that muslin run you?

Have dealt with Raw stock many times...they are super cool and give clean stuff for less.

Of course to make it brighter! doh! I was thinking more in terms of color temp...unbleached is warmer, right?

You can try to motivate the warmth by strategically placing candles throughout the scene.

Just make sure the source is filling up the frame, and have fun with it. I love muslin, it's the only source of diffusion that I find to be completely shadowless. I'm sure others will quickly correct me, here. Is there any specific reason you want to bleach it?

This sounds like it was made for a promist filter. Probably one of those occasions where you can go heavy.

Thanks guys! I have a good friend at Abel Cine...when the shoot gets closer I will consult with him and bring along all of your suggestions

Thanks, George. I'll look into those Arr models. I'm only interested in renting, though...I've no desire to own film equipment.

A good director and DP can make an "obsolete format" watchable, and even beautiful if the story, feeling, sound, and editing, is there. A friend of mine just shot a beautiful little story about a guy who discovers that his father commited a murder. The film is told in a verite, documentary style with haunting V.O and super wide shots. I was very moved emotionally by this film and the "cheaper format" only added to the feeling. I also shot a little short in New York, on Coney Island on a PD100, and a lot of people have told me that it was very beautiful and moving. It's not the format it's the artist.