Edgar Dubrovskiy

Do I understand correctly - the adapter will mount straight onto camera, not on the EX-3 lens. Right?

Hm. What about the 'persistence of vision'? We don't see the flicker in cinemas, do we? Can't say that I agree on this one. I do agree that the eye sees 'one frame'. But the trick is - the brain doesn't.

At the moment - it's all about emotions for me.

What second frame??? Did I miss something? Four times...

'Hunger' was insane. Looked really good. And 'The Fall'. And Pfister's job on 'The Dark Knight', of course. Haven't seen some big shots like 'Reader', 'Doubt' and 'Revolutionary Road' yet. Deakins all the way :)

No-one in IMAX HQ will change anything. We can only hope that the whole thing will start to make loss, and then everything will be back to normal.

I'm not sure if I understand your question correctly. If you ask who gets credit for the still - then the answer is stills photographer. Or do you ask who holds the copyright for the still?

Just thought I might ask, while we are on 264 topic. Is it only me, or does anyone else also see a distinct difference in contrast/gamma after H.264 compression in FCP? It seems to me that image becomes kid of "milkier" and less contrasty. Is H.264 supposed to be the best codec for internet streaming (vimeo uploading, for example)?

Will Scarlett make us better cinematographers? I know this is a pathetic argument, but it just seems so strange how a lot of cinematographers are slowly becoming camera techincians. Just IMHO. Love, peace, etc.

It seems DP's will have less and less control over the image in future. First, leaving all colours to post. Now, focus as well. Hm...

I don't get negative back. iLab stores it. They only give it back if you request. Majority of times there is no point (and room) to get the negative back. And yes, they do telecine. And if you are student - at really good student rates.

Amazing.

"Happiness?" before rolling (or after just rolled) is in the air on London sets all the time.

I use iLab. Supernice people. 0207 287 9520. Nigel. http://ilabuk.co.uk/contact/

Worked on a cold shoot couple days ago. Lots of layers for yourself is a good idea - thought we will shoot till 11pm. Shot till 6am. Two pairs of socks and couple more jumpers would be nice, if I would've known for this to happen. Technically-wise. Batteries (not only for cameras, but also for stuff like maglites) and condensation were mentioned earlier.

I have listed personal info, professional goal, brief statement, achievements, job list, technical experience, education. Decided to list mine in chronological order. Though I also want to make one based on the type of job and in pdf (always good idea) sometime soon. http://www.edgarmedia.co.uk/cv1.htm

Absolutely true. Especially when landlord starts arguing with 1st AD and Producer in the room where you are shooting :)

Lets not get personal and find ourselves in a ridiculous argument over this topic. You stated in your first post that you are looking for a DIRECTOR OH PHOTOGRAPHY (has the final word on both composition and lighting). In fact, who you are looking for is called LIGHTING CAMERAMAN (decides on the lighting) on this shoot. With yourself being CAMERA OPERATOR (decides on composition). Correct me if I'm wrong. Wikipedia (responsibilities section): The English system of camera department hierarchy sometimes firmly separates the duties of the director of photography from that of the camera operator to the point that the DP often has no say whatsoever over more purely operating-based visual elements such as framing. In this case, the DP is often credited as a lighting cameraman. This system means that the director consults the lighting cameraman for lighting and filtration and the operator for framing and lens choices. In the American system, which is more widely adopted, the rest of the camera department is subordinate to the DP, who, along with the director, has the final word on all decisions related to both lighting and framing.

Good cinematography... Being original, yet being on the same wavelength as director and the story.

Came to America at the age of 9 month. Came to America at the age of 19. Came to America at the age of 21. Came to America at the age of 19. They do have something in common, don't they? I am not arguing with you John. Of course, you can always say that Hollywood wasn't established by Americans, but by immigrants. But this has nothing to do with the point I was trying to get across in my previous post, and I'm sure you understand it.

Thanks! All digital. Canon 5D. B/W in camera.

Worked on various film sets in early 2008 as still photographer. Here you can find some pictures from the shoots: http://www.edgarmedia.co.uk/behind.htm thanks.

... and Americans who have established the industry.

Yes! It seems that John uses British system of role division in camera/lighting department on an American shoot. That's what's confusing everyone.

Would you say they are powerful enough to give as much light as it looks they give in the video? Or did Savides add more light by using other sources?