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.

Adam, What was the budget for the video and what was the production company if I may ask?

Hey everyone, So the director gave me these references for a scene We are using Vision 2 and my lighting gear is 3 redheads, 1 photex (which I think has a yellowish temperature) and different bulbs. We are also doing telecine and editing in final cut. What do you think is the best way to achieve this look? I'm trying to decide whether I should leave to to telecine and then further grading in final cut and color or to start with it on the set. We are shooting interior.

Hm, I don't know how it is in U.S. But in British productions, if you tell someone publicly about their shortcoming on the set, you basically won't be hired again. Unless you are Roger Deakins, but then he is a very nice guy:)

my short answer is yes.

my new Jetta.

well, it wouldn't matter for Panavision, because they rent ARRI as well. They usually don't even try to push you either way, they say: "whatever you need, man" :)

So I've been at panavision rental today looking for 16mm cameras, I've asked about 416 and they did not have it. They told me that we don't want to rent the camera as many productions had many problems with it. Reporting gate that scratched and stretched the film, as well as complicated lacing that many assistants hated it. So I should wait for an update and would be better off with SR3. Why would it still be better than SR3 then? For one, it only goes to 75fps as oppose to 150 on SR3. Hm

I'm kind of skeptical of Soderbergh calling himself a D.P, I'm sure he had a lot of input into the look, but he most likely works with the best gaffers, that don't really need D.P's to light most of the scene.

Well plus-x is a slow stock, so I'm just worried about loosing light very fast especially this time of year in London, we don't have lights in most of the locations and we chose the ones with shadows mostly to keep better light continuity.

I'm about to DP a film on Double X outside with natural light. Are there any specific things to concider with the stock? I've done tests and it seems to be coming a somewhat too grainy when backlit for example. The film needs to be shot at 2.8, so I will be NDing down quite a bit.