Bob Hayes

Great site. The original 2d film was composited in a computer from different elements. The background might be one and Jack another e.g. Apparently they saved the original 2d elements. It looks like they then generated two separate films one for the right eye and one for the left eye. In the right eye film jack would be a little to the left of frame. And in the left eye version Jack would be slightly to the right. It is kind of phony 3d in that the elements are still flat. Jack is in front of the back ground but has no depth himself. Because Tim Burton?s team are probably dedicated to making great 3d I bet they went back into the original 3d programs of the key characters and generated some real 3d effects specifically for the film. Something coming out of the screen really needs to have true 3d characteristics. The technique they used is sort of old school. The View Master 3d views often took animated cells from films and created 3d in planes in the same way. It has a vastly different feel then 3d shot with two offset lenses.

Place the camera so you see it?s reflection in the center of the mirror. Then move the camera to the side until it disappears. Now bring the actor in from the other side. Have them look between their reflection and the reflection of the camera. Another way to do this is to center the camera in the mirror and put a set flat in front of the camera with a small hole just where the camera lens is. Dress the wall and disguise the hole. Cover it with a small two way mirror, or ND filter on the lens, or a black coat etc. You could also do this technique using a large two way mirror and angle it slightly so it reflects the set just to the side of the mirror but not the mirror wall. Dress this wall the way you want the mirror image wall to look. I?ve shot directly into the mirror and hid the camera reflection with a black wall. Then you put objects in front of the black drape that are reflected so the wall doesn?t look so much like a black hole. In dark scenes this was an easy quick and fun solution.

I spent quite a lot of time studying theater lighting and it was great. I had a great lighting teacher Lee Strasburg at UCSB. I learned to diagram lighting, color theory, how to run a dimmer board, how to light areas, and how to create mood with light. Also because I was involved in the theater department I was exposed to many different forms of drama instead of just screenplays. It was great.

Another amazingly stupid scene was when our hero lands his plane in the bombed out no man's land in front of hundreds of German guns to save his pal. Then he can't lift the wing of an airplane that probably weighed 100 pounds. What were they thinking? Lazy is really the word for it.

I thought the Genesis looked great with wonderful flesh tones and lots of latitude. The only issues I saw were the highlights just got a little more over exposed then I like. The film however was a disappointment. The script felt like a reworking of a melodramatic 1930?s tougher then nails aviation film. I can?t figure out how a film with a Zeppelin and Gotha Bombers could be a disappointing aviation film but it was. It would seem to me that digitizing ww1 airplanes would be pretty easy but I guess not. There was no aerodynamic reality to the performance of the planes. They performed like Space ships. This seems to be a common problem. Also from a reality level, the film was supposed to take place in 1917 and the DR 1 Fokker Tri-plane had just been introduced. Yet all the German airplanes were Tri Planes and they were painted Red like Richthofen's. Most probably they would have been flying planes like the older Albatross?s. It was as if you did a movie about Iraq and every American plane was a Stealth Fighter Dumb. So many of the German planes had great painting designs so to cop out for a ?Red Baron? paint job on every one was just plane stupid. Unless you are really curious about the Genesis do yourself a favor and rent the ?Blue Max?.

Two things. First 50 cycles is a problem when shooting 24p or 60i with regards to fluorescents of which there will be many. You can sometimes adjust the syncro scan so it will fix the problem but be prepared to see it and fix it. With regards to customs create a chart that has all your gear, country of origin, serial numbers, and cost. I create a separate list with out the cost on the list to prevent it?s use as a shopping list. I also take digital color photos of all my gear and cases. I organize the photos by what cases the gear ships in. I then make multiple copies. It is great documentation that you had the gear and it helps finding lost or stolen equipment.

I?m starting to see that as a reoccurring problem with the VX 100 A. The manual focus which is supposed to set a depth of field 1/3 in front 2/3 behind the subject actually is almost 100% behind the subject. I shot yesterday and I think that happened several times. I check out a camera at a rental house last week and saw this effect with a different camera. I think when you are wide you need to pull the focus closer until the back ground starts to go. I think this is a flaw in the camera system. I'd love to hear if other folks are seeing this [problem in manual zoom on the wide end.

Any know where I can get some used chewing gum? No. You want to own a new chip chart.

Fogal works great. I built little rings that slide over the back element allowing me to remove and replace the nets quickly. As an AC gluing nets on made me nuts. Really time consuming. Especially on a commercial when the DP would show up that morning with the nets.

It helps in pre-pro if you develop a book containing photos and other media that inspired your look. Then you can refer to it during the shooting process. Russell Carpenter turned me on to this concept and it works great. Even one photo helps.

Just started watching NBC new series "Heroes". Looks great, who's the DP?

Paper tape, 1? or ½?, and be sure to ?tab? the ends so you can pull it up easily. Gaffer?s tape is far to adhesive and will pull coatings off of floors. On sensitive floors the AC?s even put the tape on their shirts first to reduce its adhesiveness. AC?s also carry small ?T? shaped sand bags for more flexible marking.

I thought the promo reel was great. Photography was first class as were all the other elements. I?m really tired of ?Chainsaw? stories but people are still goggling them up. The format looked like Cinerama on my screen. Could you please give us some more info on how you shot it. What?s movie tube? How was the camera set up? What parts of the look did you bake in the camera and what did you do later? What was your post chain?

Titicut Follies by Fredrick Wiseman

And where exactly can I find these recent porn spams?

On a show where the DP operates he looses that connection with the director. One of the major advantages of having an operator. I?d ask myself several questions before I made any action. Are the ideas constructive and do they make sense? Does the director need someone to hold his hand? Is the script supervisor undermining your judgment? Is the input slowing down production and making it harder for you to do you job? Are you setting up a shot with the director only to have it second guessed by the script supervisor later? Is the director comfortable with this relationship or is the director being manipulated? Are you working for two directors on the project? Is the extra input hurting the quality of the picture or just your ego? I would then have a talk with the director about this Ménage à trois. I would request that you be included in these conversations. With regards to the script supervisor telling you how to do your job it is very difficult to be a servant of two masters. If the director feels he needs the co-director then deal with her head on as a co-director. If you explain to the director that is what the script super is he may be less inclined to give her such sway.

Hang in there. Fortunately there are lots of great surgeons and new technologies out there. Get well soon!

Toggle between preset and white balance and go with the one you like best.

My solution for dealing with sound problems was to become a cameraman.

http://girl-with-a-pearl-earring.20m.com/ How about this for a GREAT site. There a many close shots of the painting. Look at "images". With regards to the eye light there is a small subtle highlight in her left eye. There is a soft shadow under her turban and her chin which would indicate a soft source over the camera high enough to not be seen in the eye. A look at #8 the close up on the earring shows the hot key from the left but also the soft key directly above the painter.

I used to be able take apart and reassemble Arri II C and even did a BL II with some help. It was useful when I was a first AC and actually used those skills several times. The problem with cameras today is they are so electronic and software driven it is pretty tough to figure out what makes them tick.

You want to light the green screen in such a way that you can isolate the lighting from the foreground. Deal with each separately.

Try keeping the film in a changing bag in a dark room. Pull out what you need to thread the camera and then turn off he lights for the final steps. This is was the only way I was able to load a Cameflex camera quickly.

Throughout your career there will be times when things don?t work out. Damaged gear, dissatisfaction with results. S**T HAPPENS. Relationships are more important then money or equipment. My recommendation would be to find out the cost of the repair which might be in the $500 range and split it with your Buddy. That way neither of you has to take the financial hit alone.

LOL. I must have been too stoned to notice.