DavidSloan

The look of Personal Velocity is very, very, very smokey...I wasn't sure what she used but it looks extremely good.

Here you go, mate: Antonioni

Has anyone seen this film? If so do you know if Ellen Kuras was using fog filters in this film..err, video...err, movie!

Btw, you don't need a 35mm print for short film fests. Those days are long gone, man. More then half of the films in festivals, esp short fests, are DV. 35mm blowup means nothing.

Hey: Just wanted to give you guys a heads up on this new Godard film. I caught it last night and throughly enjoyed it. As any other Godard film, it offers a lot of food for thought. The film takes place in post war Sarajevo, and is in a triptych form with each "panel" named after a stage of Dante's inferno. It's a stoic film, for the most part, but has a few comedic moments. Godard is trying to examine the dichotomy of man, and also investigates the text and the image. There is a wonderful scene where Godard himself, gives a lecture about "shot-reverse shot." Ahh, the always fascinating Godard! :D trailer

30 minute short on 35mm for 6k is never going to happen. Even if you shoot on the XL2 you wont be able to afford a 35mm blowup considering you're going to rent lights, have a crew and feed people. Why so eager for 35mm...believe me just because your short is on 35mm won't guarantee you a 3 picture deal anytime soon; there are dozens of 35mm shorts that go no where except the director's fridge.

Last night was my first time using them. Can you gel on them, or scrim them? Those baby boys get SO HOT SO QUICK! I dressed one and the gel melted instantly. Thanks

Thanks, mate. :)

As a DP I feel no desire to own a camera. That's a rental, baby! :D I'd buy lights!

Now that you mention that, David, I do recall seeing that a lot in his work. I gotta go watch Being There, now...thanks!

This is pretty dumb so I won't drag this any further into the mud. Just to let you know I'm not much older then you and have done my share of work, and always getting better. I'm a recipient of numerous grants for my student cinematography including a prestigious kodak grant. Now I'm perplexed, how can someone make 6 shorts and a feature and doesn't know what something as basic as an ND filter is? No offense but how is that possible?

Considering it's going straight to TV.

Another "genius" writer/director...yawn *rolls eyes*

Directors just go for the generic, i.e., emotional moment=CU, action sequence=hand held, CU on female=diffusion filter, moon light=blue, etc... This moronic style seems to be the current generic style of the moment. European and some Asian filmmakers, for the most part, haven't adopted this style, thank god! Some filmmakers there are still making beautiful, slow, and emotional films in the style of Tarkovsky, Rohmer, Truffuat, etc... You're just watching the wrong films.

Whoops!

I've never seen DB's work. What do you recomend, Fstop?

Do any of you guys work that way? If so is it a reliable method of lighting for video? Thanks

You're shooting a feature but don't know what an ND filter is...I really wonder what this feature is going to look like.

Thanks, a lot, guys. The slight blue fill sounds great, David. @Tony: you're right about the overuse of fill. Just enough, but with practicals still effective in the shot, sounds perfect :) . Thanks, again. David

I'm referring to sunset. What I was thinking of doing was letting white curtains hang, and getting the window at an angle so it doesn't look blown out. Maybe I don't even need the 216. But I think it's important that the light be positioned low, producing long shadows, and have a warm tone. Does anyone have any suggestions as to how to achieve the magic hour interior, look?

Does anyone know if it exists and if not which artists were used? Thanks! :)

Hey guys: I'm DPing a sort next weekend on S16mm (fuji 500t) and I have a scene that takes place inside an apt, but during magic hour. I was thinking of 216 on the windows with a unit aimed low, dressed with Bastard Amber. What do you guys think?

It was a large living room space, on the ground floor-easy access to the windows. The camera was on the far right of the room and the windows were on the far left...three large windows. We put toughspun all over the windows, and shot 2 1.2k HMIs, through them. One 2k was right next to the camera, on the left and another, on the same axis was about 5 ft ahead. Both were bounced off the ceiling and were dressed with toughspun. Lots of fog in the room, as well. Hope this helps.

I was key grip on a shoot this weekend where I put tough spun on all the windows and pumped HMIs through them. Inside we put a couple of diffused 2ks, bounced off the ceiling. The result was soft, over cast type of light that looked absolutely gorgeous. It had the most evocative quality...wrapped around the actors so gracefully.