J. Lamar King IMPOSTOR

In no particular order: Fiddler on the Roof Jesus Christ Superstar Annie (John Huston version) Schindlers List Saving Private Ryan Three Kings Breaking Away Combat! (TV series) Jules et Jim The 400 Blows The Umbrellas of Cherbourg Jean de Florette Manon of the Spring Winged Migration Hair Ran Yojimbo Sanjuro Seven Samurai Dreams Hidden Fortress Being There The Natural Black Beauty The Right Stuff Snow Falling on Cedars U2 videos (shot by Declan Quinn, Robert Brinkman, Anton Corbjin) Midnight Oil videos

Cool that you put Breaking Away on there. I love that film and it has great work by Matthew Leonetti.

How about straight from Kodak or Fuji! $35 bucks a spool is a bargain for what you get in return. Film is cheap, shoot it.

I'm pretty sure Harrison does make both of them.

That's what I was getting at. If I feel I may be inadvertantly copying something or even intentionally trying too, I like to embrace the techniques employed yet see where I can take it. His frames are very rich looking, nice.

Tim, do you always go about your lighting thinking, "I'm ripping off so and so?" Doesn't seem like a good frame of mind to work in.

Isn't it great being the DP! "Hey you guys are gonna cary me up this hill." :P Rodrigo, please give us updates during your production as often as you can. You can post in the "In Production" forum. Feel free to run wild with your thoughts about what you are shooting and maybe post some pictures of your setups. I'm sure everybody here would love to learn from it.

Daniel, you might not see it now being inexperienced but you will begin to realize how good these guys are after you get a few real shoots under your belt. It takes a lot of skill and talent to produce that level of work throughout a feature. Sure you have to give some of the music video shooters kudos, because the level of work being done nowadays is very high. Interesting that "Song of the South" was brought up. Always one of my favorites for the visuals but rarely seen as Disney tries to hide it due to its obvious racial content. NCSA has one of the few 35mm prints available to watch.

SOLD!

SOLD!

I'm not sure how much good it'll do. It certainly won't do any harm. People have said to me in the past phrases like "We couldn't find you on IMDB could you send us another resume?" etc. It seems like it's gaining too much importance. They don't list commercials, industrial stuff, etc. in which you may have an extensive resume. I'm finally getting on because I just shot some second unit pick ups for a feature that's already listed. I've worked on projects in the past that haven't gotten listed, yet anyway.

I'm using the older P+S Technik Mini35, the one with the grey body. It has two speed settings, high and low. What's the difference? I'm using the XL-2 with Arri primes.

Somewhere there is a link to an article about light meter readings written by an ASC guy. Anybody have that? It would be a good place for Dave to start. There are many ways to employ a spot meter some of which Kevin has pointed out. I generally use the spot to tell me where things fall against the incident reading. I sometimes use a gray card to set an exposure when there is a very strong back or side light. Any way you employ it, it all comes down to interpretation.

LOL, that's the truth!

I tell you what if I was taping a camera because I knew it had a light leak I wouldn't use colored tape.

I can't speak nationally but all the local affiliates of the major networks as well as major cable outlets in my region (Texas, Oklahoma, Louisiana, New Mexico) take Beta SP. Most of them I believe take Beta SP only. There is also some way that commercial's are "piped" to the stations via broadcast transmission or something. I can't speak to how exactly that works though. On the commercials I've shot all the traffic was done by the lab on Beta SP tape stock. I'm speaking only of commercial's for 4:3 SD broadcast.

I would kill to be able to shoot that. I think any film about a good band like that is better than none. Jude Law might not be too bad.

Not sure what to tell you in that situation except to check carefully that something isn't jamming the camera. That could happen in a lot of places. Sounds like something may have broken. Sometimes when they jam you just have to take off the baffle plate and perhaps the front cover and try moving the interior parts. The shaft behind the release button with those spring loaded fly weights is the culprit of a lot of jams.

I've seen lots of out of focus stuff in movies now and then. It happens, but you can't keep a guy around who keeps missing. One thing you have to be sure of as a DP is that you communicate exactly what is to be focused on and when.

Not sure exactly of your problem. When the plate is off the only thing that happens when you wind it is the spring forces the crank back. You should feel that it shouldn't be "locked." The trick with the pawls is to remove the gear that the pawls engage from the winding shaft. Just pull it off the square keyway and place it into the pawls on the back of the baffle plate making sure the pawls are engaged in the gear and the springs are in their grooves. Place the baffle plate with pawl gear back into the camera until it presses against the winding shaft. While pressing down gently on the baffle plate with your left hand, wind the camera with your right hand very slowly until the square keyway in the pawl gear engages and the baffle plate drops flat with no binding or warping.

If the bowl of the Ronford double riser is 150mm, then yes it should.

I second Kevin, the Celoflex works well. I have a couple of huge 4x umbrellas that I like to use if it is a downpour. A big umbrella or filter frame allows you to keep it clear of the light so it doesn't melt. Cover your distro connectors with viqueen and prop them up to keep them out of pooled water.

Try reading this thread; http://www.cinematography.com/forum2004/in...162entry26162

BTW, since many people have asked, this camera is Regular 16 not Super. It can be modified by a technician or yourself if you're good at that stuff to shoot S-16. I'll take $200 plus shipping for all of the above.

I concur with some of the other poster's, the XL-2 is a bit of a better camera. I would get the 16x manual zoom and some type of rods with FF and the mattebox. Even better would be getting a B4 adapter and wide Digi-primes. You might look into the Mini-35 but that thing is often a hassle to work with. Definitely get yourself a full set of ND's and ND grads. This will allow you to control DOF much easier as well as any hot skies.