Jon Schweigart

Nice you've now got the look you were after and you can adjust it from there to your own liking.

Getting closer. I'd say desaturate a bit more, bring the mids down a tad and push a little towards blue. Play around with it until it matches to your taste.

You will need editing software that has a three way color correcting tool or a third party plug in. This will allow you to control the Shadows, Midtones, and Highlights.

That is a low contrast desaturated look done mostly in the color grade with the blacks boosted a bit. It was most likely shot in some sort of log or flat curve on an overcast day.

You should be fine with nun's knickers to seal off entering light. You will probably need a baseplate thats height adjustable but if you can adjust the height of the mattebox you might be just fine.

Same filter sorry.

Anti Moire filter for FCP I've tested it and it works really well. Softens a little but its better than wavy rainbows. http://marvelsfilm.wordpress.com/2011/02/17/wow-now-available-dslr-anti-moire-filter-for-fcp-free-download/

Somebody Sharpied my slate and I used Acetone to get it off. I DO NOT recommend doing this. It took a while to come off and my slate began to peel a little. I now have some small wrinkles in the plastic. I wish I would have known that trick but I'm sure it'll happen again somewhere.

When shooting mask out a 2:35:1 guide on your viewfinder so you have breathing room in the frame. If you don't do this everything will look tighter and crammed when you crop to 2:35:1. In my NLE I usually put on the 2:35:1 Matte so I can adjust for headroom. In the export you need to know the correct aspect ratio so it crops and gets rid of the letterbox. So for example if you're doing a 1080p web video select maintain aspect ratio with crop, with a custom ratio of 1920x816.

You can find a lot of forms online for cast or crew. Each production is different but on my last film which is 13 minutes, it was about a week after casting I assembled my entire cast and crew at a table read where they all signed and we got to know each other. At this stage don't expect the actors to have their parts down. We took notes and improved the script from there. A week after that I held a rehearsal with the new script in place and made sure all the motivation was there in the actors. I didn't start filming until about 5 weeks after the audition which seems slow but there was a lot to be done.

If you have a mattebox Light Craft Workshop just came out with two variable 4x4 ND filters that's equivalent to a 2-8 stop ND set. They also make regular screw on variable ND filters. http://www.lightcraftworkshop-shop.com/product/68

I just got back from Film Expo Asia Bangkok 2010. Our film was 1 of 99 to compete. The theme of the film competition was "The Living Faith of the Beloved King." I was DP, Camera Operator, and Editor. Please let me know what you think.

You should see what high quality Buffalo has to offer. Some of our best. I heard this guy is nation wide. Billy Fuccillo

There's no shame in that. Using that Sekonic is tricky at first and takes some getting used to. Getting out there and trying it is the only way to learn and get comfortable with it. Like Ira said using a spot meter should make this shooting scenario a little easier but that Sekonic is a good meter and will also give you good results.

Yes usually outdoor shooting with snow results in underexposure because the light meter gives you a reading for middle gray so the snow doesn't come out white. You need to compensate for this. Did you adjust the meter to it's outdoor ASA? I'm guessing it was mainly not reading the meter correctly for the high slide that caused your overexposure.

With the highslide in you meter it the same but you line up the footcandle reading with the Red H arrow instead of the black arrow.

Look at Natural Born Killers. It switches between b&w, color, 35mm, and 16mm. There really are no rules as long as the look you choose drives the story and has purpose.

I thought it was a great reel. Everything looks very good except one thing pops in my head. It's just too wide for me with the footage you have. Everything is very tight and it looks severely cropped. It looks like it was shot 4:3. I would say with the footage you have I wouldn't keep it so wide. It loses it's composition when you can never see the top of someones head. Sure you don't have to always see the top but the rule of the thirds is not in effect either because of the footage that would never fit in that aspect ratio. That's just my opinion I know 2:4 looks amazing but you can't force it. Other than that I thought it looked amazing.

No manual zoom means there's not a zoom ring on the lens. Instead zoom buttons or whatever you call them.

Thanks guys, I don't know why but I forgot all about filters. I'm thinking it might depend on natural skin color. Here's something I've always wondered. Which is true for complimentary color in film. In art blue and orange are complimentary but in HSV its blue and yellow. If they are tanner I think a blue would increase darkness (closer to orange its complimentary color). I own a 80a filter. Or is there something closer?

I'm wondering how to consistently make skin tones darker without underexposing the image while still keeping contrast. I like the look of dark faces in black and white photography. I don't mean the color of the persons skin I mean having a person with a fair complexion appear darker without losing overall contrast like darker than middle gray with no loss of detail and bright white teeth. Should I try to expose it for darker than middle gray such as with an incident light reading? I've noticed reversal stocks do this well but I'm looking for consistency. Maybe shoot a gray card too dark so they time it accordingly. Any ideas?

Saying they edited out responses is obvious. I was just saying it's nothing for Americans to get offended by.

I bet 70% of the people interviewed in that clip get all their information from Fox News too. The problem in the United States is the censorship of the media and people not giving two fu**s about what's really going on in the world. It's why they call my generation Y (why?). As long as the news tells us we're in the right we're happy. I'm not going to get into politics but it's disgusting hearing people with those answers. But I'm also sure they didn't show the answers from the majority of people asked.

If only everyone thought that way.

I know of many successful filmmakers out there who's work is cliche, uninspiring, and cheesy and somehow manage to keep making movies. But all people are different. Many people love the filmmakers I were referring to and would definitely say "They're the best filmmakers ever." My point is, these filmmakers get many theatrical releases of their films and would be considered successful but are still bad filmmakers to the critics and majority of film enthusiasts. Filmmaker is not a title you give someone when they reach a certain point of success or talent. It's a title you give someone "who makes films."