Tom Lowe

David, this Extended Cut Bluray is about 22 minutes longer than the "Academy Cut" you saw before its release.

Yes, David, you are right. It's from early in The New World. I thought it was particularly striking, with those very long parallel lines covering almost the entire frame. The sun only pops through the leaves for a split second. BTW, have you had a chance to see the Extended Cut of The New World Bluray? My god... It's just stunning.

?

The Canon vDSLRs are not 1080p cameras, period. Maybe 720p, but even then you are subject to horrendous aliasing if you point it at the wrong subject.

Lol. Nothing "blows IMAX out the water" right now.

Unfortunately, the IMAX near me plays nothing but up-rezed Hollywood crap. :angry:

Thank you for those posts Dominic. Very interesting.

Best bathroom scene I have ever seen was "The Fountain" in the bathtub.

FYI, these cover full-frame 35mm Vista Vision, and so might gain popularity when full-frame cinema cameras start to hit the streets in a year or two.

Glen, you guys are doing an awesome job. If I can throw in my measly 2 cents about the series (since I have someone's ear who actually works on it), I think everyone involved seriously, seriously needs to try to switch this show into being a full-fledged Superman show. The audience has grown impatient now, and ratings will keep slipping, no matter how awesome your work is and what is done to tweak the storyline. If you guys did that, ratings would go to an all-time high. BTW, I think you guys have a star on your hands with Justin Hartley. Producers were wise to draw him into the series. Okay, this concludes my little attempt at being a "back seat producer." :lol:

I would like to hear thoughts comparing these two high-speed cameras. I need to produce 1000fps+ beautiful 1920x1080 shots in strictly outdoor settings. No indoor studio work. What are the pros and cons of each? I'm particularly interested in hearing thoughts on the image quality and ease of use in remote locations, like deserts and mountains. Thanks.

The hype advertising alone on this movie is making me not want to see it.

How do you monitor this camera? is there a little LCD or something? can I review shots right after doing them, to decide if i need to reshoot them, delete them, save them, etc?

Loved this shot from Friday's show! Beautiful, beautiful.

I do sell stock at Getty and elsewhere. I only do it to get money to buy more equipment, and I never really set out to shoot stock specifically. It's just a byproduct of doing what I am interested in. I do have some urban stuff, and am trying to do a lot more of that. Thanks for the kind words.

Could not be more well deserved.

David, do you have any new projects lined up? Anything exciting you can tell us about? I posted my comments at Reduser on JB. I thought it was SUPERBLY shot. I'd be really stoked to see you get a film like Michael Clayton or No Country. Or as Shawn Nelson suggested, maybe a Sci-Fi picture.

Hey Thom. You can get a lot of these details at the timescapes.org forum: http://www.timescapes.org/phpBB3/index.php I use a Canon 5D Mark II with the EF 16-35 II and the 24mm f/1.4 I. Bogen legs. The dolly is custom. I had a local welder help me. It uses a Mumford rotary stepper motor for motion. I spend a lot of time camping and searching and scouting locations. Lately I have been using the "Pocket Universe" and "Focalware" apps on my iPhone 3Gs to anticipate where celestial objects will be in the night sky. It works great! Processing takes a lot of time, because I am shooting 21mp RAW frames and demosaicing them in After Effects using ACR. The final quality is stunning though. Yes, I have been trying to shoot more urban and stormy weather shots. I shot 2nd unit for an Audi commercial in LA in June and got some beautiful shots of the freeways and city skyline. Anyway, thanks for your kind words.

Video: http://www.vimeo.com/6686768 A few shots from my trip to the White Mountains and Yosemite in August. As usual, I will mention that I am very keen on shooting 2nd Unit timelapse for features and commercials, so feel free to PM or email if you have a project that might benefit from timelapse.

Yeah, I think you would be hard pressed to find any DP who wouldn't love a chance to go back and shoot "Casablanca" with Bergman. Or "Notorious," for that matter. Going back even further, I'd love to have DP'd "National Velvet" with Elizabeth Taylor. The color rendition is sort of odd with the versions I have seen, but aside from color, there were some interesting possibilities there. Her face was magic.

Geez, pretty high praise for Amanda Seyfried. I'm going to try to see this tomorrow night. David, looking back at all the Hollywood starlets -- Grace Kelly, Bergman, etc -- if you could go back in time and DP any classic film with one of these leading ladies, who would it be? Any film in particular?

David, sorry, I don't have the link handy. It's been posted here and at Reduser many times. To me, it's just institutional knowledge. I'm sure someone will come along with the link, or I can spend some time googling it for you if not.

It was a careful study conducted by some German imaging company, I think, where they basically went around to various multiplexes and measured real, visible resolution. Because of poor printing, cheap projection lenses, bad focus, etc, the resolution was measured somewhere between 720p and 1080p. And this makes sense. If you go to a theater and pay strict attention to "resolution" and detail, it does seem to be about in this ballpark. In other words, if you see movie at the theater, and then watch the Bluray or a 1080p trailer on your 1080p system at home, the 1080p is (generally) a little sharper, with more detail and resolution. I was paying strict attention to this when I saw "Wall E." The Apple 1080p trailer was far better, IQ wise, than what I saw at the multiplex.

I'm pretty sure that Malick and Lubezki had complete and TOTAL control over what cameras and formats they chose to use for "Tree of Life." They shot parts of "The New World" on 65mm. I think Mann, Gibson, and others also have complete control over format. Well the average measured resolution of feature films projected at multiplexes is well below 1080p (somewhere above 720p), so I'm not sure what you're talking about, unless you think scratches, grain, etc, are the big bonus. In terms of general image quality, most Blurays on a big HDTV already outshine multiplexes. "Samsara" will likely be the last major film ever shot on 65mm, sadly. But what will replace 65mm are large digital sensors shooting 6K+ resolution with ever-improving image quality. And 4K projection will be the new gold standard. It will probably be similar to seeing a good print projected at 65mm, if not cleaner.

Who are these "I hate film people"? Are they on this thread? I personally love film, but I love this new digital technology more. It's more convenient to use. You say you love John Ford's vistas. Well, Ford shot his most legendary picture on Vista Vision. Can you afford to shoot Vista Vision film these days? 65mm features? No way. But Red and other companies are building Digital Vista Vision cameras right now (5D Mark II is Vista Vision!) that you will actually be able to afford to use and post produce. Have you seen the low-light performance of new DSLRs? It's absolutely stunning.