Tom Lowe

Lol, you could have pocketed a couple million and retired Stephen... :lol: but hey, there is still almost a year to go! I knew the risk of delays. Maybe MX and new workflow tools will help my side of the bet in the meantime. Alexa from Arri will also help Epic to slay film. Maybe I will be proven to be off by a year, for example. But that's hardly being off by much. The tide is changing VERY quickly. ;)

I say, let the footage do the talking.

1. The Thin Red Line 2. The New World 3. In The Mood for Love 4. Road to Perdition 5. 2046 6. The Fountain 7. Eyes Wide Shut 8. Children of Men 9. No Country for Old Men 10. Lust, Caution

:rolleyes: I was only talking about this particular film, "Das weisse Band," not all black and white films. I worship black and white films like "Notorious," "Kane," "Casablanca," etc. Congratulations, Karl.... you're the first member of my Ignore list here. A remarkable accomplishment.

For me, it would have been better to see the "innocence" of the faces of the children... the blond hair, the freckles, the blue eyes... the "innocent" and sublime landscapes and fields and forests in color would have been an interesting setting for such an odd, depraved story. I lived in Germany for a couple of years and I always LOVED the colors there, especially in the summer. Afghanistan is the same way with respect to the people and their faces and eyes.

I'm not disagreeing with the film stock used. I'm disagreeing artistically with the idea of making this film black and white.

I saw White Ribbon and thought it was a fine film, but ultimately (I know David disagrees with me!) I feel that the black & white DI was a bad move. I would rather have seen this film in color. The landscape and skin tones and colors of the people and surroundings would have been better suited to color, IMO. I have to say that so far, I'd give the Oscar to "State of Play" this year. Unfortunately, the film came out so long ago that most people have forgotten that it's even eligible this year.

I think Jim is making special exceptions for MX vs Sony and Arri comparisons. ;)

Stephen, if you are un-banned, why aren't you over at Reduser commenting on the MX vs F35 comparison charts? ;)

Any time Jim tangles with Keith and Phil here, it's pure entertainment gold, from my point of view. See Stephen, I told you that you'd be back in action soon! :lol:

Don't worry, Stephen, you'll be back in action at reduser soon, I'm sure. :lol:

Probably film festivals then sell the US rights to Discovery, Nat Geo, etc. The real question will be how to sell the rights overseas. Because this film has no narration, and is strictly visual (like Baraka), it should have appeal overseas. I am going to pack the DVD and Bluray to the gills with extras. There will be a huge amount of behind-the-scenes footage, so keeping some ownership of Bluray/DVD rights will be important for us. But all of that is stuff I can worry about down the road. Right now, I just need to focus on kicking ass over this next year on the road.

http://timescapes.org/blog/index.php/times...outhwest-light/ Excerpt:

Some of those driving shots looked great, especially the magic-hour ones. Did you guys have a permit for those? Ross delivers on this song and video. Puffy's "vocals" were a little strange. I would have just shown moving images of him, not actual "singing" footage. But that's more a director/editor issue.

IMO, the best digital feature still remains "Sith." I guess it was 4:4:4 F950. Freekin' gorgeous colors at 1080p!

"LieMax".... nice. :lol:

Probably the weakest year for cinematography in a very long time. I still have not seen The White Ribbon, though.

Yep. Another thing to note is that "true IMAX" screens have 70mm projectors on site (they also have digital projectors). IMAX Lite theaters do not have 70mm projectors, at all, as far as I am aware.

There is a difference between true IMAX and what they call "The IMAX Experience" which is nothing but regular multiplexes converted to "IMAX Lite." You have to find out in advance whether it's a true IMAX screen or IMAX Experience, and sometimes, it's nearly impossible to tell on places like Fandango.

Lol what is "tape"? :lol:

Well I shoot everything in 14-bit Canon RAW stills and process the sequences with Adobe Camera RAW in After Effects. You can transcode to any format, directly off the RAW files, from within AE.

Yes, that's the way I do it. But Renny said he was "starting just before sunrise and ending just after sunset." So that is a lot of stops of adjustment needed. When I do sunsets, for example, I generally start the sequence 2 stops over and end it 2 or more stops under, for that nice fade effect you mentioned. Sometimes I let it fade all the way to black. For one "day-to-night" sunset shot I did of the LA skyline in June, I went to the location the night before and discovered what the lowest night-time exposure was I could get away with. Say, (just for example) 1 second at ISO 100 f/2.8. Then, I waited till after sunset and watched my exposure meter until the scene was about 3 stops over. Then I started the timelapse. This way, you can go from a bright "daytime" shot (even though it was well after sunset) to a well-exposed night. This shot became the opening sequence of an international Audi commercial, so it seems to have worked.

Yes you will have the effect of things speeding up (clouds, boats, etc) and slowing down as shutter speeds decrease or increase, but there are not a lot of other options. You can ride the iris, but then, your focus and DOF can change. Some old-school 35mm film guys did ride the iris, I know. It needs to be adjusted in tiny increments, smoothly, of course. I think adjusting shutter speed is usually the best route to go, as far as I have seen. I would avoid the filter route, because as you said, it introduces a lot of difficulties. Any reason you are doing this on film rather than a digital SLR? I suppose it's to match the rest of the production?

If you need sunrise-to-day and then day-to-sunset, you'll have to adjust the shutter speed, probably. Probably try to change it at the smallest increments possible, and only in one direction. If exposure goes up and down (instead of only in one direction), then you will get "flicker" from frame to frame. Then, obviously, as sunset comes, you will change the exposure duration back in the other direction, manually, in small increments. The good news is, you will probably only need to adjust exposures during sunrise and sunset, because it will be fine to leave most of the daytime frames at one exposure all day, assuming the weather is decent. The timescapes forum in my signature is dedicated to nothing but timelapse, so if you need any help, give it a try.

The thing that I've noticed on the vDSLRs is that any shakiness, for example, gets extrapolated and made much worse by the CMOS sensor. It can be shaky footage as a result of being on a very long lens, or from mounting the camera onto a moving vehicle, for example. Just out of curiosity, if you were going to get a stabilized head for a camera like this, what head would you use? It seems to me that your real enemy is micro-vibrations, at least as much as the macro instability.