Douglas Sunlin

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The obvious answer that comes to mind in this case is back-lighting, at least in the case of what the music video has in common with Moulin Rouge.

Would it be easier to shoot a still and use that in the film for a bg?

I don't know, if I had a some flow going, I'd kick it down to my people. At least offer a percentage, that's how startups in Silicon Valley go.

I guess it depends on how much action you want the relfection to do after the real guy leaves. If you just want him to stand there, and cut after the real guy leaves, then you could use split-screen and freeze-frame. Or maybe even reverse.

It's remarkable how dark they kept the background considering that it was a peaceful domestic scene. Probably going low-key to foreshadow?

I am really looking forward to his movie.

I worked in Navy Public Affairs in a previous life. Yes, get in touch with the public affairs officer. Emphasize your professionalism and they will give you the same back, I am sure.

It's in the same league as burning your bridges behind you. I doubt if you really want to develop that kind of rep as a filmmaker.

I just saw an XL2 for sale right next to a Sony HD camera, for exactly the same price. Am I wrong to thing that this signals a price correction after the holidays?

Is there such thing as a graduated red filter?

Perhaps the question might instead be trends and fads. Direct overhead shots have always been possible, and have probably been used since the dawn of cinema (correct me if I'm rwong), but it has been cropping up in a number of films.

There are 45 books in that list. Maybe someone could volunteer to pare that down to a few (less than 10) of the best books?

1966 Bell & Howell ad: http://www.tias.com/cgi-bin/google.fcgi/itemKey=1922939517

I would think it would be useful to see the dailies to determine if you were getting effect that were after, before you consumed your entire stock.