Serge Teulon

Adam is right....you could shoot colour, desaturate and print B&W. Worked for me.

Hey John, I wonder how Richard Edlund would feel about your comment. I'm not a big sci-fi guy but I do believe that alot of very skilled work goes into producing this type of film. You are right in the fact that it doesn't utilise the world as we know...sorry for the pun.....but it does delve into possibilities and imagination. To actually create something fully from the unknown and still sell it to ppl like us, then that alone has to be respected. You liking one film and me not feeling the same about film, is, in my opinion, what makes art interesting. Wouldn't it be boring if we all concurred with each other...but to call 2001 a boring film is something that says that you just didn't get it. For me it's like listening to pink floyd's dark side of the moon album.....once in a blue moon but man, what a nice experience each time I listen to it! ;) On the Assasination...I'm a big admirer of Deakins' work and my falling asleep was nothing to do with his work but simply to do with the pace, which for me slooooowed right down at one point. That did not happen in NCFOM nor when I went to see In the Valley.....which was brilliantly written and shot!!!

Hi Kyle, Welcome! There have been loads of posts on your same question. As the answers that you are looking for are already available, if I in your position I would do a search and have a good read. Then you'll get all the info that you are looking for. If after that you require more definitive answers then by all means post the questions. Good luck!

:lol: that was the first thought that came to me when I saw the post!! I don't know how it works in the US but here in the UK you can blacklist someone by following certain procedures. Stephen - Love the idea of using the screaming kids....just hope I never need to resort to that. But great idea!! :P P.S my record from invoice date to being payed is 4 months.

I remember when the best super hero film I had ever seen was Flash Gordon.....until I tried to watch it as an adult and nothing but disappointment fell upon me. If the "Fifth Element" can be considered a super hero film then my vote goes on that as the best. The current trend on super heroes is the same as on films about the royals in the Victorian and Georgian Britain. I'm pretty sick and tired those films.......The BBC love throwing their carefully planned cash at these kind of dramas. There are so many other really interesting factual and historical facts to cover but for some reason the industry believes that this cow still has more lactose to offer. It would be great if the big distributors would push for films of the calibre of 2001 A Space Odyssey, Ghandi to be produced..... P.S Adam - Although I enjoyed most of it, I must confess that I fell asleep halfway through Assasination.....there was a real dead 30mins in the middle.

I think that backlight works for certain elements of storytelling but it has become a lazy or sometimes the quickest way to create separation. Of course that is all to do with what kind of work you doing. I mix between tv work and films, comms etc... and I find that the tv environment, where money is short and time is of the essence, then sometimes the option has to be what I consider the lazy option. I find that most tv work (in the uk) is less attentive to detail...you just have to look at Dr Who as an example. And that is just a real shame as I do believe we have some great technicians! I just remembered a scene in "The man that wasn't there" where a woman knocks on the door and she has a heavy rim. R Deakins stated in the extras that the heavy rim was just right to depict the feeling that he was looking for in that scene. S

I've always used tiffen filters and find them to be very good. As for your brown tones, I think that the ones you mentioned are a good option. I have used in the past an Antique Suede filter to augment era and brownish tones. But then I suppose the best advice to give you is to test. Get a stills camera together with the filters that you think you might need and take some pics. Only then will you really know what you want to use. Good luck!

I've always operated. Coming off Brad's comment about communication, I feel that if I was required to deliver a complicated explanation of how a shot should develop in a split moment I fear that I would not be clear and concise with it. I would probably feel the urge to just grab the camera and do it, rather than spend precious time trying to make myself understood. In that case I would find it counter productive. But I do completely appreciate what a dedicated and professional operator will bring to the table.

S

Yes you do need to compensate. Essentially what happens in moving photography when you undercrank, is that each frame passes through the gate at a slower speed. The equivalent in still photography is when your mirror/shutter remains open for a longer period of time. For example, if you take an exposure reading of, say, T2.8 @25/24fps and then if shooting @ 1fps you would need to close up to T11 1/2. S

Good advice. Thanks Bryan! As for the sound guys.....well.....its only sound! :P

All in all that sounds quite positive. It seems its just a case of having CF cards on the ready and not being too rough with it. Thanks guys!

I'm in the midst of researching with a director that wants to shoot with a Red. This is due to where the funding is coming from..... I haven't had the pleasure of working with it but it seems from all the info on here that the camera itself can generate quite a lot of extra work and stress on set. I must state that I don't want to start a debate about Red, like in many other topics. I'm just merely reading the info and writing my thoughts.

It's funny that this topic should come up...I was only the other day looking at several photos that employed the double fog filter. Whilst looking at these photos, I had a feeling that the filter will become fashionable again. Just like flares.... Is this synchronicity?!

They said that its in Apple's hands as to when they release it, but if you buy the latest available version that the updates are totally free!

Hey Christian, I bought mine through ebay. It felt risky when I did it but it was nothing but a very efficient service provided by the store that I bought it from. It came from HK and to date it has worked nothing short of perfect. And the most important thing is that it was much cheaper than in UK. The seller is a store called etefor. Good luck!

I contacted the manufacturer directly and they said that at the moment they have a version 1.1.0 in apple's hands waiting for clearance. The new version caters for the following: Regular 8 Super 8 Single 8 16mm Super 16 Ultra 16 Techniscope 35mm spherical 35 mm anamorphic Super 35 Red One Technirama Standard 65 mm IMAX Dynavision Sensor 4/3? Sensor 1? Sensor 2/3? Sensor 1/1.8? Sensor 1/2? Sensor 1/2.7? Sensor 1/3? Sensor 1/3.2? Sensor 1/3.6? Sensor 1/4? Sensor 1/6? CoC - 1/500 Zoll CoC - 1/700 Zoll CoC - 1/707 Zoll CoC - 1/1000 Zoll CoC - 1/1430 Zoll CoC - 1/1500 Zoll CoC - 1/1667 Zoll CoC - 1/2000 Zoll Have asked when the proposed release date....

Hi Guys, On the DOF calculator preview it shows a "Canon DSLR" do you know if it has any other presets. Such as 35mm film gate, s16mm film gate, Anamorphic etc....? Cheers S

In the June 08 edition of the AC mag John Bailey wrote in the "Filmmaker's Forum" his views on DI's and how it is affecting the role of the cinematographer on the output. I've never DI'ed anything, have always photochemically finished the projects I have worked on. So I am interested on the views of our DI experienced compatriots as well as everyone else's. "....Filing from a digital bay in a well-respected color-corrected facility, reporter Susan Stamberg interviewed an eminent colorist, who she said, "corrects" all the mistakes and flaws of the original photography. At one point, the colorist referred to the scene he brought up as "the raw film", as though it was nothing more than a preparatory sketch for his digital painting. Stamberg called the colorist a "Da Vinci of movies", an "artist" who can remove the green in an actor's face or turn a sunny day into an imminent winter snowstorm. In the much simpler world of photochemical printing, the same people are called "timers"." He goes on... And then.... "...I confess I have not been, nor am I now, a big fan of the DI process. I make no secret of this, just as I make no secret of my disdain for every manufacturer's claim that its high-def-video camera equals the quality of 35mm motion-picture film." ".....On a technical level, I don't see the efficacy of embracing the DI for the non-effects films I usually photograph. I use greenscreen for effects shots, which are scanned, worked on at a digital station, and then rendered back to film. I do this for the scenes that require it, but why should I digitize the entire movie? "For more control", say some. Ah, control-the double edged sword. Whose control? If the recent story is an indication, it is not the cinematographer's control." "....I fear we cinematographers may have unwittingly begun to write our own epitath on the subject of image control. Do I even need to mention the number of producers, PM's, studio execs and other who are promoting hi-def video for image capture because they say, "You don't need to light" and, perhaps more crucial to them, "You can see exactly what you get?" It doesn't take a genius to follow the logic of this chain of reasoning If you don't need a cinematographer to light the scene, or if an executive says you can "relight" it in post, or if you don't need the cinematographer to answer-print the film because the DI fixes all things, including poorly exposed negative, why do we need the cinematographer at all? That was a missile I saw a director launch at a student audience several years ago. His memorable statement was, "Digital technology will forever free us from the tyranny of the cinematographer and the caterer." My response was, "I guess we can debate the role of the cinematographer, but I've never seen anyone make a movie without a caterer."" ;) End quote.

Nice work!! S

I saw that video recently and I thought of it in the same light as I think about their song...... There were a couple of those pings that looked like a mirror bounce and the rest of them looked like a real naff post effect. I might be wrong but that is what it looked like to me.

Saw it last night and even though it wasn't at the IMAX (impossible to get a decent ticket) I thoroughly enjoyed it. I liked the style of lighting, composition, movement, angles, production design, costume, make up, acting etc...... I really only have a couple of tiny little things that stood out as less than the rest of the film. Batman's voice (sounded like the guy who does all the trailers vo's....you know the one!!) and the angle of the Joker's pov when Batman is giving him a hiding in the cell.....that choice looked naff. Apart from that I can say that I'm more than happy to have payed the £30 for taking the troops to the cinema. Oh one last thing......Heath was brilliant!! RIP.

If I was to work in your project I would firstly begin trying to understand the directors vision and then research photographic and film material that relates to that part of the world. Photographically you could start with National Geographic....they should have a tremendous library of photographs of the east spanning back many years. You can also refer to flickr.com website..... I saw the Kite Runner recently and thought that although Afghanistan was in fact shot in Marocco it nevertheless replicated it very well. I've never been to Afghanistan but no one can say that we don't see enough of it..... Also Ghandi would be a port of call..... If you haven't already, try and make sure that your crew can speak or at least understand English. That is of course if you are not proficient in the native language. Myself, I would attempt to persuade the producers to allow me to take a 1st and gaffer of my choice. I hope that is what you were looking for.....if not please just say and I'll try and help further. S

HAHAHAHAHAHHAHAAHAHAA!!!! :lol: :lol:

Addind to Ram's reply....dependent on age make sure that face is never brighter than background. Have a reflective source from underneath and don't be afraid to use negative fill to accentuate the bone structure. A good post for you to look at is Adam Frisch's when he shot the Girls Aloud video.....I believe if you search it via "Girls Aloud" that you'll find it.