J. Lamar King IMPOSTOR

The one I got appears to be OEM. But it looks like they are individualy licensed instead of one license that covered 10 copies or something. I don't think it matters who registers it in that case because they sold one license and only one license is registered. That is certainly legal.

That has some truth to it. I was talking to an insurance company about a music vid once and that was the first thing they asked. "Is this a rap video? I can't insure you for a rap video." They said the reason was that they often have real gangsta's show up to be extras. It all seemed a bit racist to me.

That's Adobe for you. I think anyone, at least in the USA would be crazy to pay full price for Adobe software. It can be had from a few vendors and off ebay for cheap. I got my PPro 1.5 from ebay for $200, it was a full version and it registered with no problem. I haven't seen the full video collection on the cheap lately though.

I was always partial to "Gun Crazy" (aka "Deadly Is the Female") shot by Russell Harlan. BTW, there is a noir film shot in the period where I believe there is a gunshot and a couple of G-men go running into a dark alley in pursuit of the gunman. It looks like the shot starts on sticks then suddenly the camera takes off in handheld pursuit of the characters. It's totally unexpected in a movie made at that time. What film was that? I haven't seen it in a while.

I actually hate walk-and-talks with stedicam. It always screams formula TV at me. Especially when they feel the need for a ton of extras crossing the hall in the BG because hey, the script says its a BUSY office. You see the same lady go right-to-left then at the end of the shot she goes back left-to-right. It all looks so stagy.

I agree with Michael, I go for the biggest appropriate instrument. As far as ND filters go, remember to make positive an ND camera filter is pure and has no color cast. Which may not be easy, see the last post in this thread for examples: http://www.cinematography.com/forum2004/in...p?showtopic=416 It was very hard to see these color casts with the naked eye.

Here's one I shot. It only cost $600 (and a lot of favors) and a few days to make. I like to think we got a lot on the screen for $600. This is an example of a concept video. {EDIT} link disabled for bandwith.

I scored the widescreen set as a birthday gift. Just finished watching them all. I think 'The Empire Strikes Back" is just so much better than the others. It has great compositions and lighting. The problem with all of them though is the damn digital characters/beings they stuck in. Didn't anyone say "Wait a minute, those digital characters look like shitty cartoons!" The best thing they do is make the puppetry and stop motion characters look real. I just can't believe they think that looks good.

I always use the Panasonic MQ or PQ tapes. I've not noticed any real difference between them and Sony tapes. However, I'm editing a project now where they delivered 11 JVC tapes to me and 3 have serious dropouts. I didn't shoot the tapes so I can't say for certain it's the tapes or the handling of them.

I don't mean to sound facetious but, everything. It switches between a feature film style and semi-documentary seamlessly, that's impressive. The climactic scene when Schindler breaks down after the war has ended is an amzing piece of acting by Liam Neeson. Ben Kingsley's performance is topped only by his work in Ghandi.

Personally, I believe the film festival thing has run its course. There were rumblings that the Sundance winner this year was pre-ordained, so the festival could get back some indie cred. I don't know if that's true, but where there's smoke, there's fire.

All you have to do is put the film in the gate remove the lens and use a marker to mark which frame is in the gate. Then string out some of the head of the roll and draw a line along its length through your gate mark for a few feet on either side. When shooting, shoot a pass with lit foreground and background. Then rewind the film (will require different methods for different cameras) find your mark and align it with the gate. Then kill the lighting on the FG and BG and cover them with commando cloth. FG objects will need to be covered exactly. Then light just the ghost for the second pass. It's easy to make the ghost appear and dissapear by using a dimmer. The problems you will run into are camera registration and getting the action to match. But if you have a small area and a locked off shot, it works beautifully.

Yes there has to be some source off right of the camera, notice her elbow is casting a shadow onto her torso. Could just be natural light from another window or open door. If I had to do it with a light I would start with an HMI and some opal frost.

Yes, I just figured that out. As you can tell, I have no clue about this web compression stuff. Just direct me to the eyepiece. Anyway I did get one compressed to 3.3MB which will do. Thanks.

Hi Phil, It has Sorenson and Sorenson 3, cinepak and some others I never heard of. Where do I download an MPEG-4 codec?

Anybody got any tips on exporting movies from Adobe PPro 1.5 compressed for use on the web? It seems that no matter what I do I cannot get it to export a movie less than 70,000 KB. It's only a 2 minute flick.

I was talking day for night at magic hour, after the sun went down and the sky a very dark blue. The street lights would come on or could be tripped by the crew. Also, yes those would be practical sources... a.k.a. existing sources.

I guess you're shooting in B&W? You could also try a Day for Night technique using a high speed film and a Wratten 25 to 29 at magic hour (after the lights come on/or you trip them yourself). Maybe combined with some underexposure. Of course that won't help with the fog effect.

Microsoft and Paul Allen are already way ahead of you.

I usually load my K-3's in a shade area and tape off the entire circumference of the door. I try not to get anything really important on the tail but I do let it run out. I unload it in total darkness in a changing bang and mark on the camera report. *-RUN OUT-*

From what I can tell from your pictures of the outdoor cage area, I don't think your going to have any trouble with deep shadows. It looks like natural bounce is coming from everywhere. If the shadows did look a little too deep, I think you could kill them off with a bit of foamcore bounce. I would be tempted to take along a huge black solid to a location like this to use as negative fill. Along with several larger singles and doubles to knock down light on the various background walls.

Deakins seems to whip out a Super-Techno when everybody else would use a dolly.

This reminds me there is a quote and I believe it's on video on one of those " the making of" things recorded quite some time ago, where Lucas says something to the effect of 'I didn't like not having control of my film as a director so on my next film I elevated myself to Producer so I could have complete control.' IMHO his directing has been going down hill ever since. I wonder if it's a case of having so much, you don't have to struggle and thus you don't get the creativity that comes from having to struggle. You look at an emotionaly sterile film like 'Phantom Menace' and ask yourself, "Is this the same guy who directed 'American Graffiti'? That film has more atmosphere, texture and emotion than the most expensive computer in the universe could ever create.

Ahh, we're alive again! I was starting to have cinematography.com withdrawl. It would be nice if you could find out for sure if it was that guy. I would put it to Sony's marketing department and see if they're behind this guy. That kind of guerilla marketing is getting all too common these days. On the internet and in real life. Several of my friends have been hit on in the Deep Ellum district in Dallas by very attractive females who eventually try to sell you a new brand of cigarettes! That is such crap...

I used a Pentax 400-600mm f/8-12 Reflex zoom that had been adapted to Nikon mount on my K-3. It belonged to a photographer friend of mine, I love the donuts but it is a specialist lens. I wonder about a PL adapter or re-mounting one of those.