Lars Zemskih

What do you think would be the best way to achieve this shake/move effect in post like here during performance shots: I'm pretty sure it's not actual camera movement. thank you.

I'm so out of touch. Why did it happen?

I've just talked to someone who told me he has learned from a "reliable source" by which he probably means an industry rep that they've pulled the plug on the production of Dalsa cameras including Origin II. Anyone else heard about it? I doubt it myself.

I saw the trailer for 300 Days and it looks beautiful, I love the shot on the train. I can't wait to see it, well done Eric.

Sorry, I forgot to add "as I remember" or something like that. But forums will always be in this tone, you know.

Collateral was mostly shot on 35mm, HD was for outside mostly night exteriors, which I think really worked. Digital handles night very well though.

If you want your film to be legitimate in the end you need to generate a "differed payment" contract. At least here in the UK it is illegal to work for free. But the way you do it is that the contract states that should the film make any money the actor gets a certain percentage of the money up to a certain amount. It can also state that the film needs to make a certain amount first and pay for itself before you start paying them. I mean it's very unlikely that a short film makes money, but it's a very good idea to have this. The contract should also make the actor sign that he agrees for his participation to be shown in anyway and any medium and that you are also not obliged to include him in the final film.

When you are 1AC on RED it is also usually very helpful to use the "punch in" button on camera to check your focus.

I would put a half or full CTO gel on a readhead. You will also need to underexpose the background and make the evening light key. That should give you a pretty similar look to the first still. I wouldn't describe it as magic hour look though, magic hour is right before sunset which to me has to have a lot more bluish tint.

I'm in pre-production for London Film School graduation film in Prague. I was wondering if anyone knows where to rent a RED camera besides here: http://www.red.cz/english.html It is much cheaper to rent a RED in UK it seems, especially since many cinematographers own it at this stage. Anyone knows who might own a RED in Prague and can help with the workflow. Thank you.

You contradict yourself a bit here, schedule and cash flow are a job of a producer. I think a good director can light, frame and fix the camera himself, only he doesn't because it would take forever and he wouldn't be able to handle all these jobs at once. It is not about doing it, it is about knowledge.

I don't think you should encourage yourself by thinking that the Director shouldn't know that much about technicality and lighting. Director is the captain of the ship, he shouldn't think that working with actors is his only task. Many DP's don't like working with first time directors for that specific reason, trying to tell them what is actually possible and what is not in the given budget, time and place is usually frustrating when the director is all "visionary" and has perfect/extremely optimistic pictures in his head. So no, learn as much as you can, shoot on film because it is still here and make good films.

Personally I believe that it is better to underlight digital than overlight it, so the dark side of his face looks fine to me, as the contrast ratio is not that big. Usually I'm not afraid to be "moody" with digital.

David, I remember you were providing stills somewhere for this film with houses at night lit from inside, I'm trying to find it in the forum with no luck, who was the photographer? Please point me to them, as I am really craving to see them again and give them as a reference for a movie I'm about to work on.

EWS is so gorgeous, I'm gonna red the ASC article again. London is boiling, it's so sudden after all the bad weather that my body doesn't seem to accept the heat yet.