steve hyde

4008 with a focus free Angeniuex 10mm. Fits in coat pocket. Steve

...is 16mm obsolete? As I was browsing the forum index, I just noticed the "16mm" forum is the most used forum at Cinematography.com - second only to "general discussion"..... The statistic seems to speak for itself. Steve

Nathan, There are a lot of interesting ideas in your text. I especially like the questions around "aura", but I don't think it is possible to create a narrative cinema "solely about aesthetics." It is not possible because philosophy must be used to create a narrative. I can understand why Bela Tarr is resistant to explaining his films and I can understand why he does not want to confound the range of possible meanings of his films by making theoretical claims about them. If a filmmaker explains what a film means to her/him? does that make that particular meaning the definitive meaning? No. because meaning making happens in the process of communication - not creation. The filmmaker does not control the meaning of the film. Consider the five main branches of philosophy for a moment: 1) Ontology: the study of what can be known 2) epistemology: the study of how we know what we know 3) ethics: the study of the differences between right and wrong 4) logic: the study of reason -how things make sense 5) phenomenology: the study of how things are experienced. Subconsciously (at least) all five of these elements of philosophy are used on every narrative film. If a filmmaker's intent is to communicate something specific. (like an adapted novel in Tarr's case) then he is literally using philosophy to do that. Nathan, I think you are getting at something different. I think you are talking about *theory* and questions like: Does the Whale symbolize the collapse of Communism? Is it a reference to Thomas Hobb's or a reference to Adorno etc.? These are the kind of theoretical claims people like to talk about after seeing a Tarr film - but it means something different to all of us. For me the whale symbolized the wonder of the universe and all its complexity - not the theoretical musings of dead professors. However, such theoretical musings may or may not come to the minds people who know about them when they see the film. And furthermore, the filmmaker, Bela Tarr in this case, may not want to be bothered with self-critical epistemological questions while working on his projects. I suggest pursuing the "aura" angle for this piece. ...This article is a good idea. Who are you writing it for? Senses of Cinema? Steve

I went to see "Satantango", "Damnation" and "Werckmeister harmonies". More noir than what is commonly called "noir". All are fascinating films and the experience is made more profound if seen in the darkness of a quite screening room among others. These films are made to be seen on silver. Much thanks to North West Film Forum from bringing these prints to Seattle. It was an extraordinary opportunity to see them. Of the three Satantango is the most powerful. I generally dislike long films. Like most film goers, I have been disciplined to conform to the 90 minute form and set my expectations around it. However, I have been reading about Satantango for years so I had a good idea of what I was getting myself into when I sat down for the 7.5 hour experience. We had three intermissions and the intermissions were events in themselves since everyone wanted to discuss what was going on in sight and sound. From a cinematography perspective, "Satantango" is a very important film because it challenges conventional practices. To state the obvious: cinematography is the art of recording space with light in time. That said, the contemporary discourse on cinematography, here on this forum and elsewhere, is primarily focused on the many uses of light and less focused on sculpting in time. Bela Tarr's films are an important milestone in cinema history. Steve

....thanks for posting these examples. This is very helpful. Steve

I like Herzog's advice. In the interesting 2004 book "Herzog on Herzog" edited by Paul Cronin - Herzog explains why he has produced all of his films. He didn't go to film school and he didn't wait around for studios to fund his projects. He did all of his own fund raising and just went for it. Herzog advises against working as an "assistant" on funded productions and argues it will not likely give the aspiring filmmaker the experience needed to make films. If you want to make films just make films and don't be shy about asking film industry people for help. I am under the impression most "film schools" prepare students for taking jobs in the industry. We all know what that means. I have only recently started making films. I got my first super 8 camera in 2004 and am now rolling out my first short films. I'm 35 and a returning student at a research university currently in a PhD program. I plan to do most of my fund raising from non-film industry sources: arts foundations, humanities, social sciences, non-profits etc. For now, my projects are self-funded (and modest) Paul Cronin also edited "On Film-Making: an introduction to the craft of the director" by Alexander McKendrick (another good book that you might be interested in) best, Steve

...subcutaneus hematoma. Sorry to hear that. Keep a positive attitude. Thanks for keeping us updated on your condition. best, Steve

Thanks for the recomendation. I will check out "The New World". I think I have seen "The Mission", but will have to check IMDB to see if that is the film I am thinking of. Clearly the marketing team for "Apocalypto" is using *history* as part of its advertising strategy. Take a look at the website. They have historical *facts* that appear to be written for children. Steve

I think it is far fetched to compare my suggestion that Sony lobbies production companies to use their equipment to conspiracy theorists that insist that the the lunar landing was a fake. I just want to learn more about power relationships in the film industry and I assumed companies like Panavision and Sony weild a certain amount of power in the entertainment industry. Certainly they do. It sounds like my assumption is wrong about how they do that. To change tack here. What do you all think about the criticism this film is receiving? My favorite critical comment so far is from Liza Grandia. In A December 17 article posted on CommonDreams: "How would the gringos look if we made a film that lumped together within one week the torture at the Abu Ghraib and Guatanamo prisons, the Tuskegee experiments, KKK lynchings, the battle at Wounded Knee, Japanese internment camps, the Trail of Tears, the Salem witch hunts, Texas death row executions, the Rodney King police beatings, the slaughter upon the Gettysburg battlefield, and the nuclear bombs dropped on Hiroshima and Nagasaki - and made this look like a definitive statement on U.S. culture?" source: http://www.commondreams.org/views06/1217-24.htm This film is being called a reckless and racist portrait of a culture that still exists. Any disputes to this claim? Steve

The Sony list is surprising. Thanks for that. My intent is not to derail this thread. Steve

Nice of Fuji to send you some cake ;-) I'm not suggesting that Sony is plotting a digital revolution to overthrow film (although I'm sure the CEO of Sony would like to). I'm also not making accusations. However, to suggest that technological decision making is free of political wire pulling seems naive to me. You have said that you are certain that Sony has never put any pressure on major studios to use their digital technology. How can you be certain of that? I'm not trying to posit a conspiracy theory. Are you suggesting that power is not exercised in the film industry? Steve

Based on your # 3 response, I am under the impression my assumption about how "the system works" is not as misinformed as you have suggested. If "small indies" have digital mandates, why wouldn't high concept features also have a digital mandate?....maybe it is, in part, because of "Wall Street" pressures. I would like to know who the top ten investors in HD technology are. That would be interesting to map. It seems highly likely to me that at least one of the top ten investors in HD technology might also have a *producer* credit on Apocolypto. I would like to learn about that. Again, I think it is interesting to think about the digital mandate: "can do nice work on HD if asked to." Clearly the producers place materials constraints on the Director of Photography of most productions, right? Even from outside the industry where I work, I think that is a safe assumption to make. Who in the ASC gets carte blanche to do what ever they want? So what if Mel Gibson approaches a DP and says, I want to shoot the Genesis because 1) it is a great camera and 2) by the way I own a lot of Panavision stock. It will be very interesting indeed to hear what the critics say about Apocolypto. Thanks for your replies, Steve

Fair enough. I work outside of the mainstream film industry. Then my questions is this: Where are the pressures to shoot HD coming from? Why does a DP risk shooting new technology when they could be shooting any format they want to shoot? Steve

...could the reasons be big Panavision payoffs in the form of a generous package deal? Is this new movie good advertising for the new Genesis camera? I find it fascinating how new technologies are *placed* into industrial market places even when the new technologies are not *better* than what preceded it. Personally, I think digital is a good format for films like "Apocolypto" because it looks more like a video game. It fits the story since the story is more like a video game concept than anything else. Steve

...are there any critical views on the cinema of Mel Gibson? Placed in context with his last film (as it should) what is Mel trying to communicate to the world? Steve

...probably best to blow it up to 16mm. I have heard Bill Brand does an outstanding job. www.bboptics.com Steve

...Thanks, I'm going today at 2:00pm.. can't miss this opportunity.. Steve

....You should have a look at Tony Shilling's documentary on the Portland Pop Music Festival. It's an excellent example of high-end super 8 work.. Steve

Where in Portland was the film screened? I hope we get a print at NWFF in Seattle... Steve

Thanks Cristophe, This is a very nice example of this technique. It looks great. I know the feature film "Good Night and Good Luck" was also recorded on color negative 5218 and then a black and white look was designed in a DI then printed to color print stocks.... (I think it was ASC magazine where I read about it) FYI for others interested in recording on color and finishing b&w.... I might not have all the details sorted out on this, but worth looking into for some.. Steve

....you mean you were shooting daylight balanced film under tungsten with out a blue filter? It will be yellowish orange. I wouldn't worry about it. If you want to learn more about going from color to black and white just search for "Color to black and white + photoshop". You will find that many digital photographers have published their techniques. Here is one: http://photo.net/equipment/digital/editing/bwconvert/ Steve

....There seems to be a trend. "Crash" is built with the same logic, with oversimplified characters. I think "Amores Perros" and "21 Grams" are both very interesting, and warranted, stories that stretch the imagination and challenge audiences to conceptualize human relationships in a more global and connected way. All of the films are a fascinating trilogy. I have enormous respect for the work of all the filmmakers involved. I think James makes a really important point about the casting choices. In this case, I think iconography was working against the story. I was subconsciously bringing other performances from the actors into the story. Perhaps these kinds of scripts are better suited for "undiscovered actors"...Maybe this is why Amores Perros strikes me as the most memorable film of the three.. Steve

Thanks Stuart, I will pick up a copy. Steve EDIT: and thanks Leo! Steve

Thanks Francesco. Where did you learn about that? I wonder which lens complement was used...anyone know?

....I saw it a couple nights ago and was sort of underwhelmed by it. This could have something to do with the mood I was in when I saw it, but I left the cinema thinking it was one of Brad Pitt's least convincing performance that I have seen. I was sitting there watching the guy act. It really surprised me. Clearly it is a problem in the directing. My second gripe was with the editing. I was watching the cuts too!! The cinematography was fine, although I'm not a big fan of using shaky cameras to signify disorientation. And if the Morocco shots were shot on S16, I did not notice a degradation in the image. I agree that the Japan vignette was the most compelling and Rinko Kikuchi's performance was the most notable. In the end I really got the feeling that this production was rushed. It just felt unfinished to me. The scene with Brad Pitt loosing his temper should have been cut. It was one of the moments in the film that dropped me out of the story. These kinds of web-of-life screenplays have really become trendy recently. I like them, but I think Babel is not exemplary of the best ones. Twenty one Grams was a more convincing story and better film. In brief, that is my reaction to it. Steve