Daniel Voshart

I’ve had a short in TIFF for three years, and typically I have gotten a ticket that specific/single screening. This year I have a feature playing at TIFF. I live/work in Toronto and I’ve asked the producer if I he could get me a free Press and Industry Pass (typically $700). Is this bad mojo? What do you folks think?

I started a different thread having missed this one. http://www.cinematography.com/index.php?showtopic=52245 I think the main issue with the product is the time it took me to understand what the heck it was. I thought it was snake oil before I understood how the technology worked. After that I'm still underwhelmed by it's inherent low resolution. Wish I could try one out! also this company already has them for sale: http://raytrix.de/

-edit- A company called Raytrix already sells a camera with this functionality. http://raytrix.de/ They even offer conversions to existing digital cameras.

I've been fascinated with a new type of camera that uses microlenses, high megapixel sensors and post-processing to allow simultaneous capture in all planes (20+) of depth of field. Thought you guys would enjoy this mind-bender of a lens. Ren Ng, the lead author behind this 2004-2005 paper has a started a company called Lytro to bring the first consumer camera to market. http://www.lytro.com/picture_gallery If the idea of changing focus in post isn't mind-blowing enough the same captured image would also allow you to construct 3d images in post. Personally, I would have called this the dragonfly lens. -extra links- Videos of Adobe experimenting with similar technology: http://comments.deasil.com/2008/02/25/adobes-crazy-depth-of-field-lens/

Has this happened to anyone else? How can I avoid it? My story: I was asked to shoot a simple interview with the date, time and studio in the very first e-mail. The client, a corporate director, was straightforward and asked for my rates. I replied with a standard rate and the response was: "Great. Please confirm." I replied "confirmed". Sounds pretty confirmed right? Wrong. Morning of the shoot (call time was around noon) I phone for the contact information of the Director and I get a call back half-hour later saying that there was a miscommunication and another DP was hired. I bit my tongue and said "no hard feelings". I would like to chalk this all up as a miscommunication but I don't really think I got a straight answer. I don't think this happens very often because the last time I was jerked around in an over-booking was over a year ago. Maybe I just need to learn how to talk the production into firing the other guy :lol:

Longtime reader, rookie poster. I shot a short film and were getting a conversion to 35mm. Footage was shot on the HVX200 using the standard Cine-D Scene File and recorded at 24PN. Edited in Final Cut. I'm mostly concerned that the default Detail (sharpness) setting might look unpleasant during the up-conversion. (It was shot w/o the intention of being converted to 35) If anyone has read a good article or experienced this process first hand I would love to know more.

César Charlone(City of God, Constant Gardner, Blindness), James Longley (documentaries), Guillermo Navarro, Bruno Delbonnel (A Very Long Engagement)

Tomas, Great stuff. Cut: the one of the man wearing sunglasses. And some parts of another man driving an Audi. You've established your ability to shoot stuff in a car much better with the work at the beginning of the reel. Keep: shot of the woman holding the beauty light and put it closer to the beginning of the reel because that was really spectacular. In general keep more of the lit interior stuff and less of the unlit exterior shots unless you really can't part with them. The only reason I would have hesitated to say this is because a lot of the quality in your work is excellent composition. and I saw several nice magic hour shots. Do you operate your own work? I'm currently debating with my own footage whether or not to keep a hint of narrative structure or if its better to assault the viewer with a variety of images. best of luck