Tom Jensen

Yes and no. I bought into it because video was so bad when the talk started. I spent a long time learning to expose negative and having bought into it, I was a little resentful. My own issues entirely. I wish I had been smarter and wiser. I just don't have the stamina I once had when I was younger, either so working 12-18 hours a day, no longer appeals to me at all. Nonetheless, I don't think I'm buying into the video revolution. I think I can now see the writing on the wall. Like I said, the film manufacturers shutting down, the rental house all going digital, the large amount of film and TV being shot on digital speaks volume. And with the producers wanting to do things faster and cheaper, digital is here for good. Investors in technology are all investing in digital. Nobody is making a new film camera. It's just my opinion, doesn't make it true. I've been wrong before.

I see the disadvantage in the money spent learning your craft.. I guess you could learn exposure by shooting still film like I did and use the digital to learn composition, how to follow action, editing. But, with the labs going away and the prices going up it is expensive. Shoot something on film, have it printed or go to telecine is expensive. With video, you can shoot something over and over until you get it right and have spent practically nothing.

I'm not sowing dissension, I'm being realistic. For every one show shot on S16, I can see 10 shows shot on digital. That says something to me. I loved shooting film. I could see it, hear it, touch it. It is beautiful. But, the ones shooting film now will just experience the inevitable in a few years. Going back to the original posters question, I think it's better to learn digital first, lighting, operating, composition, etc. then learn film or exposure because the odds are that any job he gets or project he shoots will be digital and not film. It takes a long time to really understand exposure.

I would say by "better and better" I mean that it looks like 35. But look at all the motion picture film manufacturers that are dropping like flies. Orwo, Agfa, Fuji and even Kodak has reduced demand and that is what fuels an industry, Demand. If the demand drops so low that the product is no longer profitable, the product won't get produced. Learning will be done on digital. Not only is the demand dwindling but the art of exposing film will no longer be needed. Bill, I learned on film myself and my resentment against digital was the main reason I lost interest in film. That was a mistake that I made that I don't want to see others make. All my film friends are now digital friends. i got left behind. It was my own undoing.

Realistically, as an artist, you don't always have a choice. It may be your dream but it's the producer's money. It's not just a trend but a technological movement that you cannot stop. Digital has all but replaced film for TV, documentaries, music videos and many features. Look at the still world. My Nikon 8008 body was $700 new, I bought it for $200 used and now it is worth $35 at most. The digital world has taken over. It just gets better and better. Does anyone think that film will be around in 50-100 years? It may still be the best archival medium but as a capture medium?

Nice rig. It looks very simple and effective. What did you do with the battery?

As in shooting the opposite direction without crossing the 180 line. If you are shooting dialogue, you turn around to get the other persons' dialogue looking the other way

I've never been a fan of storyboards and have rarely seen them used except for FX shots. You can pretty much walk onto a set in the morning block the scene, light it, rehearse and shoot. Get your master or wide shot first. Bump in and get your medium shots or over the shoulders, then your close-ups. Then you turn around and shoot the other way and get the reverses. More often than not you two actors maybe more. Just remember that coverage is getting what you need to cut the scene together. Don't shoot this way and that way and try to get everything because the money starts ringing up fast. You may need insert shots or reaction shots, Get those but be decisive and understand what you need to tell the story, The problem I find with storyboards is that your set and the blocking is going to change or be different on the day. Some directors lock themselves into storyboards and want you to get exactly what they want or nothing else. That's silly unless the shot is real specific and you have a big budget to pull off a big exterior or something. But, when you just want to cover dialog, make it easy on yourself. Don't re-invent the wheel. Shooting everything is a sign of insecurity and fear. My advice is to look at your script or the scene. Read it and then find a few movies that have something similar or tv shows and then look at what they do. Whey you find something similar, emulate it. Count the shot and categorize them into master, medium close-up. What moves do the camera make? Does the camera follow the actor in? Does he sit down, What does he do. And you can see how many shots it takes and how the director covers it. Keep it simple but don't forget something you need to make it work. And get everything you need from one direction before you turn around and re-light. Nothing will anger a crew more than going back to shoot something that you should have gotten when you were lit. Especially, when they are working for free.

Adrian pointed out S16 which is Super 16 which gives you a slightly larger negative. I say don't waste your time or money since the trend is towards digital. It might sound fun and romantic but it is expensive to learn. You can learn on a still camera, but, that's another dead art. Don't try to re-invent the wheel. Go with the trend or you will be pounding your head on the wall.

No, that was all visual FX.

Having technical knowledge certainly give you an appreciation for what you see on the screen. I am able to detach myself and watch a movie. But if it has no story, I start to pay attention the technical aspect and I start looking for the flaws. Either way, I always look for reflections. Especially in old movies.Just keep in mind that a movie is a story and let it take you.

You have to keep in mind that the film stocks back then were really slow and they used a lot of light.

No. A resume and a few references will work.

Morning light is beautiful but sunsets last a lot longer.

Stay wide to lessen the shaking. keep it level

Use a Sharpie.

This looks fantastic. I can't wait to see it.

Vic Kemper had a rig on Slap Shot that was pretty cool. It was like a hostess tray or a table on skate blades. It was connected to speed rail handles that resembled a lawnmower and it was pushed by a grip in pink figure skates. (JK) I think there is a pic in a back issue of AMerican Cinematographer.

Sad. The end is nearer.

Post of the day so far. lol

I seriously doubt that is a shiny board since it is a very well controlled light. It looks like an HMI. The fill is also an HMI. It is a pretty basic lighting set up.

Don't waste your time. Everyone works in stops. But, at 100 ASA, you need 100 foot candles to get a 2.8

Curious as to what you will do with this data

I think some people on here haven't experienced the film business like some of us have and don't realize the level of work or the personal experiences we share. They just don't realize they are talking about our friends and sometimes even family, After 25 years in the business, you meet a lot of people.

I prefer to mark the lens with a Stabillo grease pencil. If the ff slips a tooth your marks are done. It all depends on the lens and the situation. Whatever works for the shot but always leave your options open. I have also made little tape arrows and used them right on the lens. Mostly zooms.