Max Jacoby

O Brother was HD, scanned on a Spirit, with the compression that entails. There was an article on Pleasantville in the AC, but I don't recall whether they did the DI in 2K or HD

The Red primes aren't available yet anyway.

How about grinding your own anamorphic lenses?

I'm told the Vegas odds are 1-5 that I won't like the skintones.

I just wonder who comes up with these silly names. Sounds like a Godzilla rip-off...

Damn right! I need tanks for my next film and the Luxi army doesn't have any!

To pick up on what Michael said, this is the second time I have seen this very clip with a different set of subtitles. I suppose it's funny if you don't understand German, but if you do, it does become a bit disturbing, because obviously the subtitles and dialogue have absolutely nothing to do with each other.

Yes and? Do you think that justifies it's use? Jim Morrison, Kurt Cobain, Jimmy Hendrix, Syd Barrett etc... all paid a very hight price.

Yes it is absolutely pathetic. Just look at Ozzie Osbourne and how he comes across in his stupid reality show, he is the best anti-drug ad one could ever imagine. Let's face it, most people who do drugs do not last very long. There is no free lunch.

I saw a print of this film yesterday. For those of you who think that I never like any films, here is proof to the contrary, in fact I consider this film an absolute masterpiece. Edward Yang reminds me of Ozu in the sense that he shows us life as it is. His film feels very honest, both from the staging and the storytelling point of view. He never manipulates you to get a reaction, yet his film is incredibly affecting. His shots reflect the same philosophy as he keeps his camera at a respectful distance from the characters, which actually draws you more into the film, because is stimulates your imagination. Especially some very emotional scenes towards the end (when say the father meets his first love again whose heart he broke 30 years ago) are played out in long shots, yet you find yourself very close to the character's and their emotions. This is a clear example that suggesting emotions through dialogue and body-language instead of showing them clearly and unambiguously in close-ups is a much more touching method. As far as filmmaking goes, this is of the highest order.

So IBM didn't make your sensor? :rolleyes:

Did he really say that? Of course everyone here knows that I agree with that assessment. :rolleyes:

Haha, yes I did not tell them beforehand that it was going to be more expensive than the regular print stock :ph34r: But the Luxembourg Film Fund paid for those prints anyway (think we struck about 5 or 6) and once the film's festival run was over I even got one of those prints. Too bad this high-con print stock is not a realistic option for a feature though.

Dirk, Have you tried the Fuji B&W stock? How does it look compared to Kodak? Orwo, well as you know I like to stay far away from that... My last film was shot on it and printed onto high-can B&W print stock, the contrast was incredible. The look of 5222 pushed 1 stop and printed onto regualr B&W filmstock is also very nice. I love the grain in the highlights and it's overall texture. Pushing does not really change the speed, just the contrast. We rated the 5222 at 160ASA I recall. I'd love to test the Plus X, looks like I'll have that possibility soon.

I don't like to use those, because it does not show you the characteristics of the lens, only the frame size. Director's viewfinder with a PL/PV mount are much better.

The weather is lovely at the moment in London.

Check out this thread: http://www.cinematography.com/forum2004/in...showtopic=31815 Red material did not make it into the film.

There is a great book on the making of Heaven's Gate called Final Cut by Steven Bach. Tells you the whole story and how it sank United Artists.

I really like the look of 5222, but I wish they also has a 400ASA B&W stock.

I recall some years ago reading an article on the US porn industry in German magazine 'Der Spiegel' where they interviewed this veteran director. He was complaining that 20 years ago he was paid 40K to do a film, on 35mm, with a crew and everything, whereas now he gets paid a mere 400 and he's all by himself with just a cheap video camera.

Porn in 4K, not sure that's a good idea... :blink:

The point of a short film is that you show people what you can do. As a first-time director it is essential to have such a piece, otherwise you can pretty much forget about getting financing, because at the moment you are still an unknown quantity to them. So unless you already have a such a piece you'd be better off trying to make one.

Please don't take this the wrong way Andrew, but no one is going to give 10-20M to a 19 year old. You'd be much better off trying to make a short film first, in the long run this will be more beneficial to you.

What budget are you looking at for this Film Andrew?

Does anyone here have any tech specs on IMAX lenses? Because I'd be very surprised if they all opened up to T2.8. The stops on Arris 65mm lenses (adapted Hasselblads) vary between T2.1 and T4.2. Because these lenses have to cover a larger area they are not as fast as 35mm lenses.