Liam Howlett

http://filmschoolthrucommentaries.wordpress.com/2012/12/20/mctiernan-screen-specific-video-streaming/

I'm an amateur DP, a student so far - but, not through film school, just through watching a plethora of films from every genre, all over the world. I've started shooting since graduating high school, got myself a ton of books on photography first and read them and practiced. And in 2010, with the advent of DSLR cinema entering the market, it now all seemed like a better possibility and chance to actually learn cinematography, so I've been mostly practicing shooting. Recently I've met some people with whom I can collaborate on projects - I still have a ways to go, but I've gotten past the technicals phase of the cinematic vocabulary - close up, medium, etc what each does, when you use it, such and such. I've also HEAVILY started to listen to film commentaries, to the point where when I come through a very good advice - I will go as far as taking out the best moments of a given commentary and make a compilation so I can listen to it over and over again. And just about a day or so ago I've come across this quote by John McTiernan - which pushed me over the edge, to also follow this advice and truly run a film to the ground over a couple of days so it gets ingrained in my head. NOW, my biggest issue, not only prevents me from progressing forward as far as grasping concepts - but it makes me doubt myself too. The issue is that no matter how many books I read on cinematography, film, or how many commentary excerpts of the best advice I listen to over and over - and while it makes a difference, because I DO learn it all - it all seems to just go in one ear and out the other, not only when I am out there on location - but when I edit for instance. Is this normal, or am I just mentally retarded (I hope not) when it comes down to remembering. I just can't keep it all in my head all the time. Did you guys run into this issue when you were first novice DPs? How did you overcome it. Practice? or memorizing in essentially the same way McTiernan memorized and studied films? I would like to hear from as many of you as possible, this is really an issue for me. I am at a point where I am seriously considering of just putting together a notebook of the most CRUCIAL cinematographic information and just carrying it with me. It does sound sane to do when you're a essentially a noob, at least until I start getting truly grasping the cinematic language without a need for reference. BUT, do you, or DID YOU have this issue of just completely going BLANK about how to shoot something. The more I write, the more I think I know what I need, and it's a solid grasp on the story of the scene, or a sequence - but then I also begin to just hear this chatter in my brain that says, "you dont know how to shoot this" More planning, more theory, more analyzing films, more FILM education? I feel like I need to be doing all of those things I listed, but maybe there's a root problem? I mean, I don't think I'm NOT talented, I've trained my eye a bit since I first picked up a camera - but I feel like I can't store so much information in my head, and maybe it's a case of being just relatively NEW to this craft, and not so much having anything to do with talent. If anyone is doubting me about talent, then look no further than this - https://vimeo.com/28212524 I think I have a good sense for compositions at least as a novice, but sometimes when I go out on a shoot - whether it's just an experimental, like practice shoot - or filming a live performance, I can just blank about how to cover, or frame something. What's wrong with me. A case of inexperience or not enough film education, or both, or something else?

Well the most prominent example is obviously The Shining - come to think of it, when I wrote this thread I didn't consciously have it in my mind - but then I remembered that bathroom scene and it was disorienting. As of now, the way I imagine my approach to how I'll translate the 'memory' portion to the screen, including the crossing of axis - I think it will work. But I guess I won't know until I shoot it and put it all together. Theoretically, it would make sense to do this as it actually does give one a sense of a memory. A disjointed, fragment. Nolan loves to use fragmental editing (see Memento, for the most obvious) but those are glimpses, and editorial techniques. I have an actual 'recollection' of a memory to film - and I believe the way I'll approach it - would be the best for telling that story, and giving the audience a sense of something abstract, like a dream, or a fragment of memory long forgotten - while also keeping it ambiguous. This will be my most substantial project, so that's why I wanted to ask the pros for some input. Because I plan on submitting this to a short film festival

I will be turning a 2-3 page short story script that has a twist at the end. The entire scene is a table scene with two people. Long story short the twist is that one of the characters simply recalls a memory in their mind - so the actual memory is the film - the table scene. I won't go into script specifics, but I want to shoot this simple two people table scene with slight in camera effects to distort the image - just slightly, and by crossing the axis a few times to disorient the viewer deliberately - the last few moments of the film will make sense however - but I'm shooting for slight ambiguity as well. Because of the nature of the 'story' - is it ok for me to break the 180 rule a few times? I am not so much asking for "permission" as I am asking experienced DPs whether it'd be a good idea as far as telling the "story"

Ok that's awesome! some misunderstanding. I'm relieved because I'm really liking the Canon 1014 xls. I'm a Canon person myself, my DSLR is a T2i. If I was to purchase a 1014, would I be able to mount anamorphic adapter? or how about the lenses from a DSLR? (I mean, I'm sure you'd need an adapter ring for that though) Another question, what do you think of the Leicina Special ? is that something that's worth it if I got that way? Thanks again !

Niall, so then a Canon 1014 xls not shoot 24fps... I definitely want a camera that shoots 24fps, so if Canon 1014 doesn't - that isn't for me. I saw some videos as well where Super 8 had an anamorphic attached to them, that is what I meant, sorry for the confusion. What you also described about how to best find one that suits me, I usually do research, I just wanted some input from guys who have shot film and have experience in Super-8 so I could have at least a baseline to compare all the others to. Is the 18fps ONLY, an issue with Super8 cams? Are there a lot that don't shoot at 24fps? I'm anal about the frame rate, I want to be able to shoot as close to actual cinematic frame rate as possible, hence 18fps doesn't suit me. But I will definitely now keep this in mind. but could you list a few "good" cameras that I should be looking into (24fps, if Canon 1014 is out of the question?)

I've been mostly shooting with DSLR, and while I can easily manipulate the digital to resemble film in post - I really want to invest in a Super-8 and shoot on actual film. This is one territory I haven't covered yet and am greatly interested in. What's a good camera to invest in for a newbie who's looking to learn the foundations with actual film? I'd like something that will also be able to shoot in 16:9 as well. Will Super-8's take on those widescreen converters ? I sound like a newb, that's cause I am. Any help is greatly appreciated. Thank you

Sucks, I know how you feel. I ain't there yet, making docs or anything. I don't even have any film school background just DIY guy, learning, watching films, tutorials... but one thing does make me feel good and inspires me more is when I put out my work out on vimeo and get a few comments on various vids which keeps me going. I'd recommend you do that. Vimeo is a good place for that, at least you won't feel like nobody gets to see it, or it doesn't matter to anyone.

Cinematography: Theory and Practice: Image Making for Cinematographers and Directors

Anyone out here knows of any books or articles that are written on film analysis? The only thing I come up with is what I get on Amazon from a simple google search "film analysis books" and those don't have any reviews or anything. I'm wondering if there are maybe some that you guys know of? as well as articles? etc

Hey, it's been a while since I even logged on here. I was out of the US for three months and shot a lot of footage, I made a short clip out of this footage - first of many, and I thought that this is one of the best places to get critique from everyone. Just keep in mind that I've had no formal training in cinematography

I spent a whole month editing this. I personally like it. It was fulfilling once I put down the finishing touches and watched it. Hope you enjoy Load all the way, and don't blink ;)

Well I don't know, a various amount of things. People could critique my ability to compose shots or lack thereof for starters. Maybe give feedback on editing, structure, flow, what worked what didn't - what I could improve on and such. When I don't see any feedback I just take it as people didn't like it. You know what I mean? I called it Reflection after the music I used "Uki Reflection" - I didn't really have a "narrative" it was a montage of images, but I captured some shots like the kids, and the old woman (my grandmother) walking on the beach, and gave it a tone and music trying to achieve a melancholic, nostalgic emotion. Don't know if I succeeded in bringing that out in whomever watched it. This is why I wanted to hear some feedback, etc.

Sorry broken links, I reuploaded it...but seems like nobody even watched it, so why bother., This section seems to be dead anyway, nobody really gives any feedback except like 1 or 2 people.

http://vimeo.com/15912949 http://www.youtube.com/watch?v=_e0_OVrvH3g - 1080 option here What worked, what didn't - what could have been done better, etc. I'd like to hear your thoughts on this please. shot on Canon T2i.

I obviously didn't mean it like that. I have a basic fundamental understanding of everything. It's not like I woke up one day and watched 10 movies and said "Hey I know movies". If that came off wrong, my bad for wording it that way. But I think I got the answer to my question anyway. Thanks all

Understandable, I just didn't know whether film schools really care if you had a BA in Film when someone applied to do MFA in cinematography. To me, I already know enough about film just by watching, reading, and shooting a lot of photos and videos. If I had a short 'reel' that I would put together of my works - and I mean "good, impressive" reel, and send it out to a school like AFI for instance - would they go "He has potential" or would they go "Yeah that looks nice, but you have a BA in IT, and such so we can't take you in" - I hear majority of people who get into AFI are people who already have on set experience.. so then I'd be screwed unless I apply to be a PA on some local productions that would come through town?

That's what I thought too, I was just wondering how they did it in the old days. I think it's common sense though that the developed film reel was brought to an editor and he just ran it through a thread on a Moviola and started editing. Thanks for Googling that for me Phil, but I've already tried that, which brought me here. The post production thing seems common sense to me too as I have described above I just thought some pros and industry people would give me a more concrete answer that didn't rely on Google but more on personal knowledge. I've seen from pictures the post production factories, with that in mind plus some guesses I was able to put down an own opinion on how the process was done. Oh well. Maybe someone knows though and is willing to summarize the process. Really interested. And has nothing to do with homework just for your info - I just had a sudden outburst of "I need to know" so I posted it, as I would most likely forget about it.

Please can anybody answer at least one of the questions?

I have no formal education in this, just what I've read about in the books and watched in films. I would love to hear some constructive criticism. Don't even sugarcoat it. If it sucks, say it, if you see potential - mention it. I really don't care, not in a "i don't give a **(obscenity removed)**" way, but in a "I want to hear the truth" To me, the best way you can really know yourself if you hear constructive criticism from others, you know where you stand - and you can improve. I'm not the kind whose feelings get hurt if someone doesn't like what I've done. As long as people tell me what sucks - constructively - and what I can do to make it better. I'm game. So without further rambling. - personal lesson, learn how to expose properly (had some shots with ISO on auto) - description below Vimeo's video. Personal lesson: don't rush color correcting. Could've fixed a few underexposed shots. A little long, but it was an editing experiment. I'm probably going to be asking for much, but if you're gonna start getting impatient please sit through it til the end... just for the "shots". To me compositions are really important, I want to know what pros think of some of the compositions I have in this video Give it to me straight, all.

I'm currently studying Informational Technology as an undergrad, but I've always had a strong passion for visuals. So I photograph and shoot videos when I have the time, on the side. Would it still be possible to get into a film school with an IT degree and do an MFA program in cinematography for example? Or will they not accept me? Thanks for answering.

Didn;t want to create another thread either, so I'll just ask this here I wanted to know if there are any major differences between the various non-linear editing softwares For example AVID, Final Cut Pro, Premiere Pro, and Sony Vegas... do professional editors prefer certain NLE's because one of them has something the other one doesn't ? Or are the ones I've listed, or in general all NLE's are basically the same? If I'm not being clear, what I mean is; will any of these will do, for example, in order to edit a Hollywood film for a studio like WB, or Universal. Or is there an industry standard. For instance I heard that AVID and Final Cut are more preferred in the film industry - but it's never mentioned the reasons behind that preference. Is it because it's more equipped as opposed to, say Premiere Pro and Sony Vegas - or what? Thanks

Can anyone give me an in depth description of what the process is like in a professional production? When film reels are shot - where do they go for scanning/development, and how do they digitize them for editors to edit on NLE's ? That is assuming an editor is editing the film on AVID or Final Cut, or just an NLE. I want to know the process. I kind of have my own guess, but I want to hear it from someone who knows the process, or saw it. Also, if an editor is editing on a Moviola or a Steenbeck - what's the process for them? Is the film reel/canister scanned/developed and sent to him? That would be my guess.

David, any idea what Jeff Cronenweth shoots with? Fight Club and K-19 the Widowmaker, had this low contrast, washed out look. Dd he get that in post, or largely due to film stock?

I saw a couple cool vids one guy has shot on a DSLR that emulated the 5229 look. He wrote it down in his description. I have probably seen a lot of films with this stock, but just didn't know at the time. I really like the look of it, it's this kind of low contrast-y, milky color. Here are the guy's vids and I found a photo shot with the stock here. http://static.photo.net/attachments/bboard/00H/00Hb52-31665084.jpg