Alex Hall

Watched "A Christmas Story", never gets old.

Jon, I think you will be able to get the look you want with the blondes. I think the diffusion on the window will help alot. As long as there are no multiple shadow issues it seems like a good plan. You might have to play with the distance of the blondes in order to get the punch your looking for, it just depends on what kind of exposure you want. It would be great if you could post some stills after your done. Best of luck.

The china balls i have are silk so i guess they will be fine.

I was considering 500w daylight bulbs. is there a wattage i shouldn't exceed when using a china ball? im just thinking about the heat factor and ventilation. Thanks again for all the responses, alot of great suggestions. Alex

Ill be shooting a jury room scene soon and i want to light it with top light coming down on the table and a little bounce coming up from papers on the table. This is a student film so the budget is nonexistent. I was thinking of skirting a few China Balls above the table to keep the light directed down. Is there a better way of achieving this affect? Is there a rig I can build? Ill have a shooting stop of f4 so i will need some punch. Thanks ahead of time for any suggestions. Alex

I just recently finished watching the first three Indiana Jones movies and i was really impressed by the shot design and composition. This is a topic that I haven't heard much about on here. So, I was wondering what other films are good examples of shot design and what makes them good.

When a DP says they shot say a 2.8/4 split for example, what does that mean. It's probably very simple, I've just never heard it explained.

I really enjoyed this film. The flash backs really made me remember the TV show.

Would living in the midwest hinder a DP's ability to get jobs on the east and west coast? Or do productions just take into account the quality of the DP's previous work. I woudn't think that you would have to live next to a major film market in order to get hired, but I could be wrong.

How much do you rely on your light meter vs. your DSLR when determining the exposure you want?

Does anyone know how matthew libatique achieved the look of the "fingerling" world in the movie "23"?

When working in small spaces with white walls that bounce light everywhere i tend to use alot of negative fill in order to control the direction of the light.

Really nice work Greg. The only thing i would of done different lighting wise is to throw some light on the roof in order to define it a bit. It kind of gets lost in the dark. other than that nice work.

There have been a good number of threads concerning reels. I found this link on the International Cinematographers Guild website. I found it to be useful and informative info on developing your reel. I thought i would share it with those of you who havent come across it. http://www.cameraguild.com/index.html?tech...tml~top.main_hp

You have a good variety of work. I think the opening sequence was a little long, i would take a few shots from the opening that i liked and then move in to the rest of the reel. Other than that good work. Cheers.

Nice work Chris. I've been following the other thread and im glad to finally see the trailer. The photography has a cold semi-creepy feel, which seems to serve the story well. The trailer was a little long for me,but i really like how it was cut. Congrats.

So the ultimate goal is to enhance the written word through your lighting and camera work. Whether it be realism or a more stylistic approach. Correct?

Good looking work David. I notice that most of the windows in the montage were blown out, I was just wondering if there was a a particular reason you decided to do overexpose them. Did you use any diffusion other than smoke for the film? Once agian nice work.

I agree with Jamie, toward the middle the reel lost some momentum because of some of the projects were repeated. Overall, good work, it loaded quickly and worked fine on my computer.

Non Linear Editing, Whatever software you are using to edit the reel.

When you said that Deakins did a partial skip bleach were you refering to him using NEC on the negatives?

Does anyone know it there are any plans for this movie to be seen in the States? or if it will go to DVD?

"Nosferatu, eine Symphonie des Grauens" (1922) Directed by: F.W. Murnau Photographed by: Fritz Arno Wagner Classic horror film, beautifly shot. Still creeps me out watching it.

Here is a good topic to look over to answer some of your questions, http://www.cinematography.com/forum2004/in...showtopic=27205

Thanks alot! I'm off to try to find copies of all these films.