Alexander Disenhof

Just saw it, and being new to cinematography, I am not completely familiar with the color negative film stocks, and so I am always a little scared push the latitude and underexpose faces. With this movie, Savides let the dark skin of the actors be dark, and at times so dark that the features were only just discernable. I really liked this style, and it gave me some courage to push the latitude of stocks more!

I am shooting a short film soon on S16, and the director wants the colors to really be rich and really pop out. I am planning on pushing the film 2 stops to help with this, but is there a certain film stock that is better for getting rich colors? I have heard some good things about the Fugifilm Vivid 160 stock...any ideas?

Knights of Cydonia by Muse Any Sigur Ros Video (especially Glosoli)

Thanks so much Chris, your advise is greatly appreciated!

I know there are threads on here that talk about creating realistic light coming from a fireplace, but my situation is pretty specific. The script that I am shooting just changed, and now a scene will be shot in a 13 by 15 foot living room at night with a fire place. The director wants a darker look, using mostly practicals (and augmenting them with small fresnel fixtures), but he also wants firelight to be coming out of the fireplace. The shoot is this weekend, and the only solution I can think of for simulating this light would be putting full CTO and maybe some sort of amber gel on a chinese lantern with a 250w bulb and have it on a dimmer. I only have dimmers that can handle 300w, so the chinese lantern seems to be my only real possibility. Does anybody think this will work and look realistic? More details - I am shooting on Kodak 7217 (200T), and the actor's will all be sitting in chairs and standing within 10 feet of the fireplace. Any suggestions at all would be appreciated!

Is this globe 3200K balanced? - http://lanternlock.com/mogul.html. Also, I think I've seen these lanternlocks on set before, but I just want to make sure this site is legit before I buy (only because it looks kind of shady - www.lanternlock.com. If anyone else has experience with these, or can tell me this site is the real deal, let me know.

As you said all the HVX moves were done in camera, how did you get the extremely fast shaking near the end of the video? (when the actual band is being shot, not the monitors) Was the camera zoomed in and just shaken by someone handholding it? Or was it on a tripod with a loose connection? Or something else? I tried to get this extremely fast shake in camera once, and found that my best results came when I did it in post. Just wondering!

thanks everyone for their imput! I will look into all your suggestions, and let you know what I find!

Hey, I know this is a little late, but I was just browsing and came upon this. It looks great! I was just wondering how you got the sunlight streaming through the trees so exaggerated when the actress comes out of the chest into the woods? Was that all done in post?

thanks Nick, you've been a huge help!

i guess what i mean is can the digital master still be used for filmmaking? is there a reason why it couldn't be used?

but if i didn't have the money for the Cine version (and i like math), do you think the digital master is acceptable? (i see that it has cine speeds)

Can the Sekonic L-758DR digital master light meter be used when shooting motion picture film? Sekonic advertizes it as a light meter for digital photography, and offers the Cine version of the L-758 for filmmaking, but the Cine version is so much more expensive, and seems to just have features that I do not need at this point in time. I feel like the Digital master could work just fine with filmmaking. Can someone answer my question?

I am currently in a film class, and I am shooting a short 16mm film that takes place entirely in a lawyers office. Unfortunately, my instructor is making me order film stock through him, meaning that I have to tell him what stock I want to use BEFORE I even have a chance to help pick out/review the location we will be shooting at. I know I want a softer, late afternoon feel, and not too dark (2:1 ratio key to fill). I need to black out the windows, and all I have access to is an Arri Kit (2 1k fresnels, 1 650w, and 1 300w fresnel, and a Lowell Omni Kit, along with my own bounce boards and such). I recently did tests with Kodak Vision2 200T using similar lighting equipment, and I had to shoot between a f2 and f4 the entire time, and it still had a dark feeling to it. I have not got the chance to test Vision2 500T (we have to use Kodak, its a requirement), but I feel like I will need to use it to get the exposure that I want. This said, I am concerned about grain (which I DO NOT want). Any suggestions about making 200T work? should I even be concerned about the 500T being too grainy? Any suggestions would be appreciated!

I would like to get at least a 500W (if not more powerful) tungsten balanced globe for a chinese lantern - should I use a photoflood or is there something else I should use?

Thanks Nick! I'm new to this whole forum thing, I didn't even think to use the search bar....

If anyone has seen the Feist Music video "1234" (this video appears on the Ipod mini commercials), it appears to be one long, very complicated shot. What kind of jib or crane could accomplish such movement? (I assume the movement was pre-programmed?) Just wondering, it seems like such a cool thing!