DavidSloan

Welcome to film ;)

How dare he ask for a warm meal, and transportation fees! This is an outrage :angry: :angry: :angry:

When something goes over the lens, it inevitably will cover the entire image (unless were talking grads). Gelling lights allows us to choose which spots in the frame we want to "warm" or "cool" without affecting everything else.

You've already posted this question twice!

Sir, you've posted this question on 3 forums...that's not allowed!

Well I was planning to lie, but since you demand honesty I'll do my best. :rolleyes: From a consumer DV camera, to 35mm neg, most of the contrast, and saturation manipulations are achieved in post. Look into some different softwares on the market, that deal with this. Things in the vain of After Effects. I think, for future reference, you should post in the first time filmmakers forum, as this forum is to deal with lighting and lighting issues only.

Gotta love a post, in the beginners forum, that starts out: With that attitude you won't get anywhere...being humble is a virtue!

He shot one of my favorite films: The American Friend by Wim Wenders. It's based on the same Tom Ripley character that Matt Damon plays in The Talented Mr.Ripley, just older. There are not enough adjectives for us to smother the man who shot Dead Man...brilliant cinematographer.

Yes it's not the same but directly related. If someone only does 2-3 takes per shot, his or her shooting ratio will be pretty slim, unless they decide to toss out whole scenes.

I disagree, I think standard big budget features are even more afraid of wasting time and money then smaller films. Clint Eastwood does 2 takes. A lot of other big directors keep takes to a minimum, too. I think the new generation of miniDV filmmakers are multiple take junkies but film people are still disciplined. As far as action films are concerned, how many times can you blow up a car or jump off a roof? Action films do multiple camera angles, getting 5 to 6 angles in a single take, but doing 20 takes? Maybe fighting scenes, but Robert Rodriguez does very few takes and he does action films. It's up to the director, there is no formula.

If you can rig your own tubes and have them pass through a Shadowmaker, it's pretty easy.

You can easily do a 35mm feature for 150k. I recently worked on 2 indie features-both 35mm and both cost around 200k. And 20:1 ratio...who do you work for, Kubrick?

That film really had an impact on the cinematographic community. I haven't seen bold work like that since: In The Cut. Bless Cameron. If I find out anything I'll be sure to post it.

Get one of those little Rosco sample books, at B&H.

Basically what all these materials offer you, as a DP, are different grades of diffusion, from a slight beam spread to non directional. Also, not all diffusion materials are efficient heat resistors so look for "tough...." when you plan on diffusing hot lights, directly. 216 aka tough white is a moderate diffuser, tough spun is pretty light, muslin is so damn thick you can bounce off it! You just have to ask yourself what you want to do with the lamp.i.e., maintain the beam but slightly diffuse or go full on soft, and then find the material accordingly.

The opening 10 minutes in The Hunger.

A simple google search is going to answer all of your questions! Do you really think someone is going to sit here for 2 hrs answering every single one of your basic questions, when all this info can be easily found onine? :angry: The arrogance of some of these kids blows me away!

Spike Lee's: He Got Game, and Crooklyn Boaz Yakin's: Fresh John McTiernan's: Die Hard 3

Listen to Nathan, he knows his Kurosawa :D

PL simply means: "positive lock." It's a locking mechanism to mount a lens to the camera body. There are different types of mounts out there, but PL is the most prevalent. Hope this helps.

Tungsten with no 85

Exactly. Take a look at the video again. You don't actually see the water being frozen as it's thrown. It's very obviously a prop.

That water splash thing is a prop. ;)

LMAO! How did they do this? It's a bunch of people standing still!

If anything, it is customary to overexpose when using 16mm film from 1/3 upto 1 stop! I sometimes overexpose by a stop for a very fine, crisp contrasty image. You have absolutely nothing to worry about.