Serge Teulon

at last 25fps!! What I couldn't find out through that article is whether you have to still freeze the aperture.....? I think the issue of the difficulty in the practicality of pulling focus is still apparent...

I certainly understand that this is a potential pit fall that happens when ego's start to get in the way. But what you are referring to is in the Cutting Room and the original post is about prior to shooting and on set....however I must say that on your point I completely agree, there is nooooo space for the dp in the cutting room.

My view is that we work in a collaborative environment which relies on many stages and depts for the final product to work. So as far as I'm concerned, it makes total sense to bring the editor in.... A director that I work with regularly is absolutely brilliant about this. Unless we are shooting a feature, he always asks the editor to be there throughout the shoot. It's something that is beneficial to the editor and also makes him/her feel more like they are part of the team. Additionally, I've found it to be really helpful when the question on set of "will it work?" arises between the Director and myself on a new idea...

I've got a mental list of certain hire places that I will not use.

Yeah I've checked and getting it too.... Straaange

Hi Ashraf, For a look like you've defined, I've used half light grid cloth with a 10k tungsten unit through it....the unit was about 3/4 meters from the 'window' with the LGC about 1/2 meters in front of the light and additionally the subjects were a further 3 meters from the 'window'. Worked for me. This was in studio.

Sure....I had to check as sometimes its hard to tell the sentiment from a written message. The woman in the shot has just lost her daughter, so as you can imagine, she is not feeling perky and positive. That, amongst other thoughts lead to the decision to shoot it as you see it. Also bizarrely, having reduced the size of the image somehow makes the shot appear a tad darker too....

Hey John, Are you being sarcastic? If not, the exposure and look of the light was just right for that part of the film....

Try also Shooting People...

I think the amazing thing in these clips is that Lubezki clearly explains how Terence Mallik inspired him and also the rest of the crew into seeing things in his way. Whilst at the same time allowing them to 'breathe'...... As for shooting with no lights - personally if the conditions are right, I prefer to shoot daytime outdoors using the available light and shaping it with bounces, if needed. I don't think it matters whether you are shooting 8, 16, 35 or 65mm. Yes 65mm at an 'open' aperture can give you DOF problems but then you can always counter act with stock speed and control your grain through exposure and process. Here is a S35mm example with no lights

Hi Geovane, Jayson Crothers (who posts here) shot a film that had a baseball field scene in it and it was really well lit. check this link out: http://www.cinematography.com/index.php?sh...amp;hl=baseball

Hey Damien, I'm assuming that you require for 16 or 35mm. If so, I don't think that anywhere, apart from a private S/E, will sell or stock 100ft of any stock. I could be wrong but I certainly have not heard of any place that does that in London........ If in your position I would have a chat with Kodak..... Good luck!

Hey Jb, Nice work! I was reading your rant about the budget and it is all a too familiar situation these days. Unless its U2, Madonna etc...its all about poop money without letting that compromise the standard of output. I've been thinking of enrolling in the Magic Circle..... ^_^

When I shoot something like the sunset I use Ansel Adams' Zonal system as a reference. Actually, I use that Zonal system a heck of a lot! In Jess's picture the clouds have a darkness to them, which to me says that I need to expose to a brighter part of that sky so that the dark parts can be represented correctly. I would initially, with my spot meter, ascertain what exposures are on the whole 'canvas'. And then make a decision, with the zonal system in mind, as to what I would expose to. I would then do a dance to the gods so that it all comes out as I want it to.... ;)

Hi Olex, It's so sad to hear of people suffering. I was watching newsnight (BBC2) a couple of weeks ago and they reported on the killing of a peace activist out there. She's not the only one to have been murdered. Anybody that tries to expose the state of your nation gets killed. There seems, at the moment, to be very little room for freedom as the political complications are immense. But hope must never be lost. I wish your tv colleagues peaceful success. P.S As I read that post there was an advert at the top of the page that headlined "Find your Ukrainian Beauty today!" I mean c'mon....WTF?

Well said Stuart.

James, Dor your daytime that lighting will not suffice. Its not enough for the wides and the CTB will eat the majority of your light output. If you know the weather for your shoot day and the sun position throughout the day, you can manipulate your shooting times and shoot using the available light, that comes into to the shop, as Key. As the CTB will eat your light output, try and get a couple more of those 1k's and also some muslin. Bleached for daylight, unbleached for tungsten. I would personally go all daylight, so bleached in your case. The attachment shows you a simple lighting set up that is effective. 1 key light from right to left (in this case a 10k) for fill 1 blonde into muslin For night time, go around the bar and see if you can up the wattage of the bulbs and you can try make use of the practicals together with your 1k's.

Are you saying that by entering this festival that you have only 48hrs to put a film together? Can you also find out what lights exactly you can get your hands on? Otherwise we could give you a plan but it won't work as you won't have the equipment....

I wasn't aware of that. If that is the case then all the better for all of us. All the information that I've read about the Epic seems to differ from one information centre to another. I put that down to the marketing of the Red products.... So I've adopted a 'wait for it to come out and then make up my mind' attitude. Tom - I'm sorry if it sounded like I was pounding you about the r1 but that wasn't my intention. I was merely stating what we all know about the r1 and I was interested in finding out what info you had on the Epic. I agree with Jamie's comments. Panavision, in my experience, have always been the leading company in grabbing a competitors product and improving it with their own touches.

For some reason I thought you were in LA. :rolleyes: Good to hear that all is going well in sunny Florida....everywhere is sunny apart from UK.... :blink: I need to move. Freya - I know that rain is an essential element for nature. But considering that you're in the UK.....you still manage to call it beautiful!?! <_<

Hey David, Good to hear from you. All is ok thanks....we're having a crap July weatherwise here in the UK, which dampens the spirits a bit. Fortunately work has been slowly gaining some momentum... Hope all is well with you in sunny LA!

Since my original post I've shot with the red a few times now. I'm happy to say that I haven't had the problems with the other projects like I did on this post. Tried out the Technica arm for the evf and what a god send! (thanks Sat for that one!). Absolutely brilliant in comparison with what you get from red. To those that haven't shot with the red I strongly recommend the Hot Swap batteries system. Stops you needing to power down and up the camera to change a battery. Additionally, the little rubber shock absorbers for the drives are excellent too. Cheers

Hey Rick, How will it happen? Luck, some say...I'm sorry but I wouldn't count on luck. IMO its about hard work, persistence, patience, intelligence and having some "goods" to offer. You have to additionally trust and deliver yourself to the gods.... I recommend a great book called "Outliers" by Malcolm Gladwell. Good luck and chin up ;)

Hey Tom, Don't you think that your claim about the Epic is a big presumption with no physical and factual information proof? Unless you do have some.....?! I do remember a lot of ppl saying that the Red was going to make film obsolete.....it hasn't and as we all know now, it won't. It seems that the results at the BSC Evaluation show, which I didn't attend due to work, completely snatched the carpet from under the Reds' feet.... My thoughts are that with the Reds' ethos of making their products affordable to everyone, I therefore doubt that the Epic will compete with the F35's and Genesis's level of components etc...

Yeah no joke... For a student film there seems to be quite a lot of resources on this project. What film school is it for?