Bill DiPietra

You should have a running-lock function on the camera that allows you to press the button once to start the camera and once to stop the camera. You shouldn't have to keep the button depressed constantly.

It's far more than the garden-variety dolly shot...

My favorite in that film is when Tom Hanks is in the diner, eating and Jude Law walks in. The camera dollies in a bit to Hanks; Hanks stops chewing for a moment and the realization of who this is character is is never more evident. A beautiful synergystic combination of photography, acting and direction.

Widescreen is one thing. Additional scenes are another. I personally do not wish to see changes to "The Shining," "2001," "Full Metal Jacket," "A Clockwork Orange" or any of Kubrick's films for that matter. They stand as the classics that they are. And to add scenes that would explain things to the viewer would be to destroy Kubrick's personal aesthetic, in my opinion. It's what Kubrick never wanted, and it's why I love his films. Nothing beats that Kubrickian mysticism in each one of his films. Cinema at its best.

Corman has always been known as the guy who gave all the big names from the late 60s-early-70s their start.

The Steadicam-looking shot in "Paths of Glory" when Kirk Douglas makes his way through the trenches. Talk about getting a sense of a character in one shot...phew! Bear in mind, the Steadicam was years away from being invented by Garret Brown, but Kubrick already had the concept in his mind.

Becasue this is a cinematography forum. I come on here to hear people's views on film and filmmaking, which is why I rarely even read these kinds of threads, much less reply to them. I am well aware that discussions such as these will take place, no matter the forum. But once they turn political, they should at least be moved to the "Off-Topic" section.

And now a rhetorical question... Why do these threads so often de-evolve into 5-plus pages of political nonsense...?

Definitely improved shot composition and pacing. I like how you used the framing and camera movement to heighten the suspense. Nice mood lighting too.

That kind of thinking ALONE, is a problem. Bear in mind that you can always attend the Continuing Education cinematography classes at NYU, rather than pay for all of their undergrad classes. In my opinion, it is an overpriced school. You will get a lot out of it, but have the check book ready...

Congratulations, David. I'll have to check the show out...

Thanks. I'll check the archives.

I can't picture him yelling...

David, Aren't these issues that you could bring to the union and file a grievance? Do you guys have delegates floating around...?

Has anyone shot with the Fuji Eterna stocks? If so, I'm curious to know what the results have been... Thanks.

I had the same problem a WHILE back, but I believe that was due some improper loading on my part. It looked like the film had been getting pushed through the camera far slower than the rate the shutter was moving at causing a smearing effect. Interesting to look at but totally ruined the footage.

I agree whole-heartedly with Tim. There is no need to hide behind a screen name if you stand behind your statements. I regularly post on an EMS message board that is run by FDNY (my employer.) Every one of my posts is signed with my full name, my station and my unit. If I post there with all of my info, why wouldn't I do the same here...? Plus, if everyone changes their screen names to their real names, it will help to identify future spammers even faster. Keep up the good work, Tim.

As far as I remember, the only time I used the hot splicer was to put the conformed negative together. Tape splicers are used to edit the work-print...

I just purchased an Arri S/B, but I am planning on using it for MOS films. When I've shot sync-sound, I've never used anything less than the Arri BL.

I too was wondering if they'd had a falling out. I miss that team.

Disregard. I see that it will be featured in the August issue.

Saw it today and it was what I expected. I was not disappointed. Very interesting video footage and photography overall. Good story too. I thought Colin Farrell was very good and I am NOT a fan of his.

I thought it looked great. I also thought the whole film was a very respectful tribute to Christopher Reeve. Well done in all respects.

Congrats and have fun!

I was one of the few people posting his praise for the photography of "Collateral" in this forum when it first came out. I thought the HD images blended rather well with the 35mm footage and the look fit the story perfectly. I too enjoy "messy" images. I've grown very tired of the reduced grain in 35mm film stocks. Nice to see someone pushing a visual envelope and Michael Mann has done that throughout his career. Michael Mann always has very definitive reason for everything you see on-screen. I'm sure what he has done with "Miami Vice," however it looks, was intentional. I grew up with the series, though...so it'll be weird not seeing Don Johnson and Philip Michael Thomas in the leads. But I wouldn't be surprised if at least one of them showed up in a cameo...