DavidSloan

Should we select the exposure for you, as well?

Has anyone seen Tim?

This is exactly why I didn't get involved with this thread. I see a frightening trend of people posting questions asking members to help with the creative aspect of their job! It's one thing when you don't know how to achieve something and it's quite another when you ask members how you should light the film in the first place. I simply detest questions like: "I want to make a scary scene, how should I light it?"

I pushed 7279 1 stop, a few weeks ago. The result was very grainy with some increase in contrast. I liked the look, but if I was planning to specifically do a "pushed" look, I would probably look at Fuji.

Shoot on an older EXR stock or Fuji, and take out color in telecine. Shooting b&w is a waste.

Unless shooting something which is going directly to TV, there is no reason to shoot 16. Even then I'd probably still go with a S16mm negative. There are no premium post costs on S16mm. Again, the only issue as Kevin pointed out is an optical blow-up. But when you're talking post you're always talking serious money; that's a given.

Or-Visual Information Equipment Operator/Maintainer. Does anyone here know or has been an Army camera person? I'm very interested to know what that experince is like.

To Jayson and Alicia: do you feel as though AFI has taken your work to the next level of professionalism, and mastery of the craft? I ask because I've been entertaining the idea of attending AFI, with the hopes of studying under master DPs, and working along side talented people in my age range. If you can kindly share your experiences, I would appreciate it.

I'm really big on what I call the: "live camera." Or as Antonioni used to call it-"The Wandering Camera." I love that mysterious feeling I get when a camera is seemingly moving by its own sheer will, picking up the action by "accident." I esp like starting a scene by panning to the action. It works brilliant when the decor is increasing the nature of the scene. Good art dept is a must.

I'm curious as to what the difference is between lighting soft from far away vs. having a soft unit which is closer to the subjects. Is there a difference in the quality of the "wrapping?" Thanks

Dedos are amazingly easy to hide, so you can use them for cramped spaces. Also, they have a nice long throw so they're great for adding punch. This Sat I lit a scene by taking 6 4x4 kinos and essentially creating a wall out of them. I placed 3 side by side connecting the flaps with a no.3 spring clamp, and then another 3 right above those in the same formation. I then placed a bleached muslin over the entire thing and had the most amazing wrapping soft light I could ever ask for. Then I just strategically placed diffused dedos around the set for slight kicker punch, and some B-boards on the floor. This was shot on 7229 going to digibeta...will see dailies on Thu. :)

The official Dedo site has all the info you need regarding Dedo lights. Basically they make a variety of hard lights, which give you extremely cpntrollable beams. I'm a big fan of the DLH4...it's always on my equipment rental list; and the suction cup is genius. Source Four is a stage light that can be used as a spot light. It's also useful to toss in a pre made gobos, in the lens of the unit, for a quick pattern.

I have to agree with David. If you can't afford something safe, you better rethink your plan.

I don't mind helping out a bit, David. Just PM me some questions whenever, I'll give them a go, and you can edit from there.

I agree with Saul-a short should already be in motion when the viewer enters the world of the story. Obviously there are no set rules, but if you're seeking a formula, that's usually the approach taken.

Yup...2 hrs telecine per 1 hr of footage is considered standard. I've been in 2 separate sessions this past week, and it worked out to just about that ratio. It all depends on how much manipulation you plan on doing.

I think you're assuming that dark scenes are shot without light, which is not the case. You light for darkness. What exactly are you looking to do?

I personally know a lot of DPs, in NYC, that shoot features, big budget music videos, and commercials. Most of them have never done anything else except shoot, right out of school.

I hate when people think they can somehow work their way up to becoming a DP...this is not f**king McDonalds where you start out as a cashier and work your way into being regional manager. Film business doesn't work that way. To become a DP, you DP! You don't work your way up nothing. Your ignorance leads you to apply conventional rules of corporate America to film. I know that some DPs started as ACs, or gaffers, etc; but in general it doesn't work that way. And BTW, becoming camera operator or 1st AC on good paying shoots is not that easy! I think it's pretty insulting to ACs, and Cam Ops that you somehow assume that you can just get one of those jobs while you're working your way up to becoming a DP. Being a skilled AC or Cam Op takes just as much commitment, and effort, to master, as cinematography.

I think this post may open the flood gate. I don't know that much about computers to really weigh in on this...I do know that I have an aging Dell, about 4 years old, and it works just fine and I never had a single problem. I know that a lot of Mac users get very dramatic about how their Macs never have any problems, but PCs are always crashing and getting viruses, etc. I rarely find that to be true. Speaking out of principal, I wouldn't support a company which exists without a legitimate competitor, and forces its users to only buy products which they produce, thereby charging whatever they want, cause you have no choice. With being a PC user you have the advantage of having a product that works within a consumer's market. Just my opinion, please don't burn me at the stake!

If you're going in for really tight CUs, you can probably take a bunch of candles bounced off a white showcard and place them really close to the face...that should look nice. Actual movie lights will not drown out the candles at all. It's the easiest thing to simulate a candle lit shot, while using the candles in the frame. A Dedo kit or an Inkie with a dimmer works wonders, you can also use a Magic Gadgets Shadow Maker, and even chinese lanters on a boom, are great. Are there windows in the shot...do you need moon light, fill?

Don't push unless you want grain! 16 doesn't push gracefully. As for meter: are you looking for Incident, spot or both? I carry the classic Spectra and the Sekonic with the spot/incident-the model number escapes me. I find both to be very reliable.

Korean cinema has recently made a huge splash amongst cinephiles; even Lincoln Center is doing a month of Korean films. Have you seen Oldboy? Thanks for the suggestion.

@Phil: did you clamp it to the top of the mattebox or around it?

I agree with that statement, fully. Freud would say that even the way you pick your nose is subconciously calculated to impress the opposite sex.