Stuart Page

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Oh, it's not nominated. So probably Deakins or Kaminski.

Robert Richardson for Django Unchained

Standard 8 film is actually double perf 16mm stock. If you can still find that good luck! (16mm stock became single-perf a while back to allow the Super 16 (16x9) frame to use the part of the film previously taken up by the other sprockets.You would load a 50ft daylight reel of this double perf 16mm stock (aka standard 8) and shoot the 50ft. Only one side of the 16mm wide stock would be exposed, from one edge, to the centre of the reel. Then you'd remove the daylight reel, flip it over and shoot the same reel so that you end up with two 50ft strips of Standard 8 pics on either side of the reel. When it's processed they'd cut it down the centre, flip one side over and splice together to make a 100ft Standard 8 reel :-)

google negative fill

Yeah I saw it in our NZ Film Festival recently. There were plenty of DOP's in it, big names and not so big, as well as a raft of directors... Personally I found it only averagely interesting. I think I've read and seen more interesting and in depth stuff about the subject on the internet. I think you can learn more from watching the latest Zacuto shoot outs

There were film labs in Roma at least as early as 1920 where they could get dailies printed. Why would they risk air-freighting to LA?

Try searching for "Shooting pack shots" — what you're talking about is usually referred to as the "pack shot" (sometimes more unkindly as the "money shot".

I have found https://www.wetransfer.com/ to be very reliable. Up to 2GB per transfer, unlimited quantities per month.

Oh yeah, I forgot about those, lovely soft lighting, no distractions.

I seem to remember some nicely lit interviews in SAVING PRIVATE RYAN or Band of Brothers or PACIFIC... In terms of brilliantly choreographed questioning, I'd check out INSIDE JOB. ;) I am also about to do a lot of interviewing for a creative doco and am planning to make them look different to the norm, or at least really well lit. I'm thinking of doing interviews in moving vehicles etc, to break up the usual static nature of i/v's. Hope you don't mind me eavesdropping on this subject that you've raised? :unsure: Thanks, STUART

Excellent question I think. Despite the DOP job being primarily in charge of "photography" I think the lighting and filters are really where it's at. Cameras will always change whether digital or film, but the look is really more controlled by lighting, colour temp, filters, reflectors, etc... I did pro lighting for 7 years or so, I learnt heaps about the myriad of units available to create certain effects and looks and feels... By comparison I'd say that camera dept is more about focus, data or film management, operating, pushing the on off button. OK hit me all you disagreers. But it's true.

That's how I shot , 12fps on a Bolex, it was 30+ year old B&W stock, it was hand-processed, telecine transferred then edited Final Cut.The audio was played back at 50% speed. Best STUART

I expected better results from the Alexa. I think overall the RED MX performed the best, and the film just looks lovely in some shots, but would probably need a little more fill light here and there. Very interesting test, I'd be keen to know what you went with.

This is a post by Richard Andrewski on http://reduser.net/ I hope it helps. Tungsten lighting you can do any angles/any rates, HMI you need to do the maths: There is a formula for figuring out all this with 50 or 60hz low frequency lighting and is applicable to both HMI and fluorescent (magnetic ballasts usually but there are actually electronic ballasts that operate at this lower frequency too): Safe camera speeds with 60hz lighting : Camera speed in fps = shutter angle / 3 / LPEP Where LPEP = number of light peaks that you want to capture per exposure period (typically 2 per cycle, or hz). Safe shutter angles with 60hz lighting : Shutter angle = speed in fps * 3 * LPEP For 50hz power replace 3 with 3.6 in both formulas. What all this means is that if you don't capture at least two cycles of light output during your exposure then you start to get flicker. So for example in 50hz situations and assuming you want 30fps it would be as follows to figure out shutter adjustment: 30*3.6*2 = 216 Here's a bit of explanation. Each shutter moment is a moment where we're capturing light. If you're light is flickering that means that its not refreshing at a very high rate. 50 to 60 times per second is not so much! You are practically guaranteed to see flickering if you're shuttering is open at a moment the light is refreshing and not fully lit. The faster your shutter the more likely you are to be open at such a moment. Many feel that you need at least two refreshes of your light per shutter moment to be safe and not see flicker. Of course electronic ballasts like those in a fluorescent ballast refresh at 40,000 times per second and 75 to 150 times per second is common for metal halide / HMI types.