jean-louis

If the viewfinder is no properly sealed, light can come in from there and print in the negative in the most unusual ways.

Forgive my ignorance, but, what is a slam cam??

Thanks for all the tips. I'll be shoottng that in a couple of weeks and let you know how it came out .

Take 21 grams, that was 35mm and as grainy as anything you can imagine. now take for example City of God, wich was today nominated for an academy award on cinematography, it was most shot on 16mm and blew up...and it also has parts shot on the Minima.

Video, even HD is very far from any negative. Specially because of the deph of field.

I don´t care about the sound sync at those particular takes, since there´re no dialogues there.

So, if i shoot an LCD display there´s no need to use the phase button?

I read an interview with the writer in wich he says he actualy wrote the scenes in that order. Anyway, I believe that telling the same story conventionally it would be quite boring indeed.

Buit that will not completely elimimate the flicker, will it?

That "phase" button on the camera isn´t somehow related to this?

I'm looking for a master degree or a specialization course in Barcelona or some other place in Spain, anyone knows a good place to get it?

I have to shoot some scenes with a TV screen in the background. How should I proceed to avoid that fleecking from the television? Should I shoot at 29.97 fps and that's it or are there any other cautions I should take?

I'll be using an Arri-SR3

If you want to keep the lip sync, always transfer at the same speed you shot, no matter if it's 10, 24, 29.97, 30, 75 or 500fps. This works if you're final product is video. If you're shooting for the screen, the only way to keep lipsync is shooting on 24fps.

Id like to know what are the actual results of bypass on developing the film and on copying, and what would happen if I bypass it twice (on developing and on copying)

I'm working on Kodak EXR100T (16mm)

O just saw the movie a few days ago. The most intresting is how a relatively simple story, that has been told millions of times can catch you once again when the format is new. The "puzzle editing" forces you to go back in your head to recreate the story all the time. When the director gives that kind of space to the viewer, for him to think, it's always a big step towards a good piece of work.

I'm not a fan of grainy looks, they seem to create a physical barrier between the viewer and the screen. But in that particular case was not so bad, since the story was so well told.

Del Toro and Penn are great, as usual, but the big name there for me was Naomi Watts. The girl is amazing, always coming up with great performances since her first major apearence in David Lynch's "Mulholland Drive"

I was wondering anyone could help me find out what was the process Lars Von Trier used on his latest release "Dogville". He captured on video, but on what kind (Beta-SP, DigiBeta, DV??) and then what process he folowed till the screen copy?