Daniel Porto

HDR http://www.panavisionimaging.com/PDF/PB0005_041608.pdf

Just saw this movie... looked pretty good - nice use of the love heart bokeh on the bus!!!! Just one question... I believe that this movie was shot on anamorphic but released as 1:85. So is there a groundglass that allows you to frame for 1.85 when shooting for anamorphic (even though it was designed for 2:40). Regards

You guys really don't like Thomas! lol

I think a lot of that has to do with Daniel Craig as he has taken the character in a more 'bad-ass' direction for the past two. Do I think this is bad? No, I loved Goldeneye (which was a lot of fun) the same as which I loved Casino Royale. I think that Bond's character will obviously change depending on the actor that plays it.

God's light

Lets use a process of elimination.... it's not a Panavision 65 ;P

...I feel like bashing my head against a brick wall! The stupid (and repetitive) comments and questions just become overwhelming and its rare to find a decent thread! Sorry, I had to let it out...

"You're" is short for "You are" Thus the proper english should be "If you're chosen" or should I type ""IF YOU'RE CHOSEN"

OLEX You are always here to help! I understand that the 2:40 groundglass markings are not really needed as you can shoot with ANAMORPHIC LENSES and GATE but it is much harder to do handheld with this lenses. Thus if I had 2:40 markings on my standard Academy ground-glass then it would make it much easier. Looks liek the simplest solution is to put some sort of mask in the viewfinder. Have you done this before or know of any good solutions?

Hi Everyone, I am wondering how simple/hard it is to remove the Konvas 1M Groundglass as I would like to mark it for a variety of different aspec ratios. Thanks in advance!

Hi ALL I currently work at a camera rental house and I am going to test every single filter that we own. Basically I was thinking of shooting it on a EX-3 or possibly a Canon 5D. I plan to test all of the following for each filter (with the presence of a young female actor, color chart and grey scale): Hard and Soft Light Overexposure and Underexposure F-stop Lens Focal Length Different Color Temps INT and EXT The effect on practical lights Effect of smoke Lens flare I will also test a combination of various filters together. Is there anything else you think I may need to test for? Perhaps differnet ASA's or even different colored gels on the lights? Or perhaps there is already an online database for this stuff haha THANKS

Depends what time in the morning. If it is early morning where there is light but not actual sunlight then you would want to make sure that there are no shadows (using a scrim to block hard sunlight), that it is a little underexposed and have an overall blue color. If it is mid-morning like you said then I would imagine that the sun would be out, it would be low as previsouly mentioned, warmer, harder and obviously only come from one direction. So possibly block the real sunlight with a scrim, and use a 18K as your new light source. The only thing you will be missing are those beautiful morning sunrise skys :) Ultimately just copy real life

What does everyone think about shooting short ends for a low-budget production. Apart from the Loader going crazy and reloading every 10 minutes?

My Solution was just to get one of the crew members to flicker the fluro light by the switch. He had to perfectly find the spot which wasn't on, but wasn't off and just flicker between those two. Not ideal but it did the job.

A couple of the shots had a out of focus vinnetting (two shot with brad pit looking at the german officer when he asks for the whereabouts for other germans AND the last scalping in the very last scene), was this because a wider lens was used and possibly with a wider aperture?

My eyes felt better watching this movie straight after District 9.

Sometimes the solution is simpler then you first think! Thanks!

I considered the joining of the wires more of a joke then anything lol... But the effect I am looking for is more like the flicker that occurs when turning on a Fluro light. The scene is in an old worn out shed and I want the light to flicker during particular parts in the script (when I want to convey a sense of fear). So the flicker should sort of look like the light is getting old and and doesn't really work well and perhaps flicker on and off every 3-5 seconds. Do I need to use particular lights to do this effect? Thanks for your help so far guys!

Hey, Im sure this question has been answered somewhere but I can't seem to find it.... Anyway, I was wondering what I would need to do to make a light flicker intermittently (sort of how old lights would flicker and NOT a continuous HMI flicker). Although it would be quite dangerous could I achieve it simply by connecting the wires back and forth by hand.... what would be a safer method? THANKS IN ADVANCE!!!

Just off topic a bit... i was just saying that perhaps deakins one of the reasons why pixar's are 'properly photographed'... Pixar made UP

For WALL-E they got Deakins to come in and give them a masterclass at lighting. I always believed that the guys at PIXAR are some of the best directors going around... but that being said they wouldn't need to compromise as much as a director who sees a big fat rain cloud starting to come over when he/she is trying to create a hot summer day. Directing is compromise and I think a lot of that compromise is non-existent at PIXAR especially with how they ALWAYS destroy the box office.

Thanks Everyone!

Thanks but already knew that but I cant figure out what the other 4-pin fischer then plugs into! Im gonna give up lol

This has been bugging me for a while now and I can't find out what this cable is used for... anyone know? 4-pin Male Fischer to 4- pin Male Fischer Thanks

Did anyone think of eddie murphy as soon as you saw Kirk with the 'Green Bitch'? Haha