James Beilharz

I saw Blue Velvet in the cinema the other night and it was so much more amazing than the DVD copy.

I was wondering what lenses were used on the film? I can't seem to find out anywhere.

Just wondering if anyone could point me in the direction of how to make some covered wagons as Roger Deakins calls them?

A basic piece of wood with multiple lights connected in a row then covered with muslin or similar material.

If you had any pictures that would be great.

I'm shooting a short (30min) thriller later this year. The style will be a mixture of handheld jumpy and picturesque statics. A big influence is Antichrist (shot on RED&Phantom). A lot of the film will be in low light and in a small cabin location.

I'm searching for a camera that will the best option. At the moment there are 3 on the list

• Sony EX3 + Letus and Primes
  Red One + Zeiss Primes
  Canon 7d
  

Most people know their pro and cons.

With the Canon I would be able to purchase the camera rather than renting.

The final film will be mostly sent to film festivals and output must comply to DVD/Tape requirements of festivals.

Any opinions and advice would be appreciated.

Reinis I'm currently in a similar situation as you. Also from Melbourne.

I was wondering how you got the job at cameraquip?

You have a impressive reel and CV and you worked with Adam Arkapaw he is a great DOP

I thought it was a great film and definitely a welcomed departure from 'Death Proof'. The film references particularly the German ones were fun to see and true Tarantino style to set most of the film in a cinema.

The fictitious nature of the film was done well by mixing some real people and situations into the film.

I think that audiences observe the digital formats in the context of story and some times digital isn't the right choice for the story. In Public Enemies this was definitely the case. It shouldn't just be about logistics and money especially for bigger productions like Public Enemies. The format should be decided on a film by film basis. Also Digital is constantly changing with technology.

Christopher Doyle at the start in Paranoid Park talking to Alex in his house

I was wondering if anyone knew how they achieved the warping and distorting effect at the start of the film with the Santa Claus.

I wasn't sure if it was a lens or not.

There is a program called Omni graffle that you can get stencils for and make some really good lighting plans.