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Philip Ulanowsky

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About Philip Ulanowsky

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    northern VA
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    Vixia HF200 and HF-S200
  1. Speaking as one of the least experienced on the board here, I would nonetheless caution you about looking for a formula. The mind is more complicated than that, thank goodness, as is life in general. Such thoughtful editors as Walter Murch have spoken about remaking a cut repeatedly to decide exactly which frame (on both sides) is the right place in a given instance. The rhythm the development, the content of the images, and other factors, all play a part in the editor's choice. While cutting of frames of a film involve an inherently "mechanical" aspect, thinking of musical performance
  2. Nice quality. The only comment I would make on the lighting per se, is that the strong, very warm backlight connotes morning or afternoon direct sunlight. I think it might have enhanced the ambiance overall had some of this also appeared, judiciously, in the background, to complete the implication, so to speak. Keep up the good work!
  3. My apologies for the acronymious mystery -- EWA: Extreme Wide Angle. ECU is Extreme Close-Up. I haven't come across an EN -- Extreme Normal yet, but one never knows these days; it would probably be spelled XN, though. In any event, as one who disparages acronym-laced writing and speech, I should practice what I preach. Cheers. Phillp Sine scientia, ars nihil est. (Without science [or, knowledge], art is nothing.
  4. How fortunate we are to have eyes and voices such as David Mullen's here! I enjoyed the warmth of some of the shots, and the shot of the two hands coming together against the corrugated in the background worked very nicely. For my part, I would have wished for seeig some of the shots longers; the editing was too jumpy in places for me. I EWA running in the field shots -- again, a matter of taste -- are overly wide. I had the benefit many years ago of getting some still photography counsel from Walter Rosenblum. He told me once that the way to use wide angle is to keep it from looking wide an
  5. Translating storyboard images or shot-lists into actual shooting is a creative process, with all the variables that entails. Creating a working flow from juxtapositions in the editing room requires one to work from the footage in hand. In my admittedly limited experience in taking video from start to finish, I have found that what I had hoped would cut well from a medium to close-up, often suffers a compositional awkwardness as a result of secondary elements in one or the other shot. For instance, even if both backgrounds have a soft, similar diagonal pattern, the cut from one shot to the nex
  6. Gee, 151 views and no written response. I must have said something wrong. Perhaps someone would let me know if I have addressed the wrong question, the wrong forum, or what. I will certainly appreciate it.
  7. I'm a classical man and was particularly struck by one of the images in the Sept. 2011 issue of American Cinematographer (http://www.theasc.com/ac_magazine/September2011/Anonymous/page1.php), the third one down on the right, of Oxford seated at his desk. This is a superb composition is every respect, and the lighting is something I'd like to try to replicate as a learning exercise. My guess is that a tall, fairly narrow softbox created the highlight on the pewter vessel and was either egg-crated or carefully flagged to control horizontal spill; a hard light of some kind, possibly a Source4, cr
  8. The 18% is partly a result of a geometric, not arithmetical increase in light intensity; this is something you can look up in in-depth Zone System explanations or the first of Adams' series of books on photography. As for the intensity of illumination of black and white, these depend in part on the medium and its processing. however, all other things being equal, the revised, 10-Zone System will tell you that black is Zone O (zone one being an untextured value just appreciably above this), hence, 5 stops less than Zone 5. If Zone 5 is reflecting, say, 1000 lux, 500 will yield Zone IV, 250 Zone
  9. I had the pleasure of seeing this film this past week, and am so grateful for those who recommended it to me. I, in turn, would like to recommend it to anyone looking for something beyond the gratuitous sex and violence, whiz-bang special effects, exploding sound tracks, and whatever else permeates so much of our various media experiences today. If I sound like a dinosaur, I'm unrepentant. Raise the Red Lantern, directed by Yimou Zhang with cinematography by Lun Yang and Fei Zhao, is more than just a captivating film. In my view, it fits the requirements of a true Classical tragedy in the
  10. Gents, I appreciate your replies, which I'm just getting back to now. Certainly, the "forensic detail" approach might be compared with examining a Mozart concerto as a sequence of note changes, or even extracting the key or modality changes; or, similarly extracting a particular moment in a particular performance of same -- hardly the way to understand the ideas of composition. I have read Walter Murch's In the Blink of an Eye twice, and find his priority list of places to cut compellingly cogent. In that light, there remains, I think, a subsumed place for seeing how a cut, perhaps an unex
  11. Though I am a film student by hobby only, I do try to study various aspects of films on my own. The question I am about to raise will undoubtedly mark me as an old-timer ignorant of current technology. A recent post somewhere posed the question to me, how do today's students study film details, for example, cuts? That is, if I purchase a given DVD, is there a simple way, or a program, allowing me to stop the movie and study a cut, jogging back and forth across the two adjacent frames, to study it, and, perhaps, even capture the two frames to paste into a document?
  12. Brian, you are right, and I understand what you are saying more than you could guess from my sketchy comments; I could not agree more, in principle. This is not the place to offer a long response. I will say, simply, that as a photographer, I immersed myself--I breathed it. In the past decade, my circumstances have not permit that, as I have had not only (in addition,more recently, to a day job with 3 hours of commuting) family with special needs, but also other obligations to the mentioned association. Thus, to do as much as I am doing in video is a stretch. Nonetheless, it is something I am
  13. As scarce time in a very busy life permits, I try to study cinematography, both to increase my appreciation of the art, and so that the documentary work I do from time to time, recording lives in the political-philosophical association with which I work, may benefit. As a former pro photographer, I recall the explosion of erotic and frankly pornographic photography books in the ‘80s. Not my interest. Likewise, in recent books and some DVDs on cinematography, I often find more references and homage to films with graphic sex, violence and horror than I would care to spend my time with. I’m not
  14. I, too, will be interested in replies to that. I recently set up an interview with a bounced light as key in a living room. There was table lamp with a transluscent white shade next to and slightly behind the subject. I had the lamp on a dimmer, but quickly learned that the key falling on the shade made the dimmer meaningless. I would have had to flag off the lamp, but was not equipped to do so.
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