Edgar Dubrovskiy

Here is one I use time to time: http://www.allmoviephoto.com/photo/

I would say - go. I have a friend, she did photography on cruise ships for 6 months. Imagine amount of amazing footage you can get in 6 months, while around the globe. And experience - people, places, light. Amazing opportunity, I think.

A lot of junk in that group - all you have to do is crop a photo to 1.85 to get in. Looking more for established names, to be honest. But thanks anyway - there are some nice pic in there, just have to look hard to find some :)

Just looking for the names (and pictures) of who you would call "cinematic" photographers. Photographers whose works can influence our lighting, colour palettes, composition. Photographers you mention in pre-production meetings and screenings. Would be interesting to hear what you guys think. It's just I am building a book of various photographs - using it in pre-production for visual mood and style references/influences. "Discovered" Stephen Shore today. Some amazing simple pictures.

http://vimeo.com/6057933 At 00:15 - shot at T2, 7219 500T. Adrian is absolutely right - the match is much, much brighter when it strikes. Shot tests for other short on 7219 - with a lighter next to the face (at about 1 foot) - and it gave enough exposure for the face. It's all about ambient light in the room, of course.

American Cinematographer.

Man, thanks so much! What I gather from my current experience and research - pre-prod is everything! So we shot test on miniDV with us acting out the characters - to time the actions and dialogue speed perfectly (as we have only 30 sec to tell the story - commercial). Then, this week director is shooting actors on miniDV acting out, and then they breaking up the footage into 25 frames a second, and will animate the characters by looking on the screens with corresponding frames - did tests - works perfectly, and helps to catch the subtle facial movements. Shooting on s16mm with SR3. Went to Arri today - shot tests with intervalometer - amazing piece of equipment. Very simple and easy to use, really :) Exposure time is fairly long - 1/2 second - so lots of light coming through - very good for deep stop. Lit the test with 2K bounced of poly, at about 12ft from the action - got 5.6 1/2 from it (shot 200T). At the moment testing 100T vs 200T Kodak for green-screen (trying to see if grain at 200T will be ok to key out the characters). The ad will be shot in two parts - foreground+green-screen, then two levels of moving plates for the background.

Good old subtitling :)

Can't, unfortunately. Part of uni project.

Thanks. Info-wise: it's stop-motion animation (30 sec). All in studio. Two main objects talking in foreground. Then putting background plates in blue-screen.

Thanks! Called Arri Media last week - they offered help once again - they've got an intervalometer for SR3 with 1 frame capability.

Will agree with Dominic. Have seen 4 short film compilations (7-8 shorts each) on London Film Fest this year. And each screening had at least 2-3 technical problems. No Sound, out of focus picture, aligning projection, while the short has already started. But frankly enough it was only the case of the films screened on film. All digital screenings were fine. So it seemed to me submitting high quality digital format will come up as safer option in the end, for that level of fests. Just my 5 pence.

Love new Vision3 line. But is the new 16mm 500T tight enough in grain for blue-screen work in your opinion? I have an option to choose between vision3 500T and older vision2 100T or 200T. 16mm option only. Would you say that new 500T 16mm is clean enough in blues/grain for blue-screen work? Will shoot tests next week, but some info beforehand would be nice. Thanks a lot!

Telecine as usual (to DigiBeta/miniDV/etc) and then transferring that to VHS.

Andrew, what would be the most common mistakes while DPing animation, in your opinion? It's just I'm also in pre-prod for an animation :) Thanks!

Thanks Tim, yes, that's what I kind of meant by the question. Do you know if the chip is the only way to make SR3 work for animation?

Sounds interesting.

Hi! Researching for my next project. Was wondering if anyone had experience shooting stop-motion on Arriflex SR3. How did it go? What extra equipment (like ECU ets) did you use? Thanks!

Check out Westminster University: Film and TV production course. http://www.westminster.ac.uk/schools/media...sion-production Come to an open day, see if you like it. But university must not be the only source of your education. I really really strongly agree to this.

No, you set the colour temperature on camera to what you want to be 'white' light. In your case, if I understand correctly - it is daylight - so the setting should be 5600K. Then you mentioned you want to till with warm light - tungsten divas - how warm,depends on your taste, really. and story. so, maybe mix tubes, or half/quater CTB on diva (or daylight tubes with half or 3/4 CTO, rather - so not to loose too much light).

I picked up DVD at Panavision last week. And also I guess they will be in Fuji office on Poland st.

Shot HMIs at 29fps in UK (50Hz) - very nasty flickering look. And for non-sync episodes the speed change is not that drastic.

I would say the camera trainee is more of a "way in" role.

Light for 150 fps (or whatever will be the biggest frame rate) and not for 25 fps. If budget allows, of course. Maybe do only mids and close-ups at high speed for that matter. And then just play with aperture or NDs on lights for normal 25fps. Just out of interest - you renting from Arri Media?

Looks sweet.