Adam White

My next shoot is a short drama based in the front seats of two cars, at night, in a dark layby. One of the cars is in darkness while the other, the setting for all the dialogue, has its interior lights on. To get the best image, I was thinking about taking off the windscreen, this would then allow me to cheat a small soft source for the carlight and avoid glass distortion/reflection issues. Are there any rules of thumb to ensure the audience believe they are still inside the car? I know its similar to using a flying wall but, with the space so tight, I am concerned about breaking the illusion. I am considering alternatives, like maybe keeping the screen in and just putting a tent over the front of the car and camera, is that a better option? all opinions welcome Adam

That would be a shame, the images look excelent and anyone who continues to showcase s8 in feature format is cool in my book. good stuff fella!!!

The "Fight Club" commentary with Pitt, Fincher and Norton. They are all very focussed on the project and yet able to discuss objectivly and with a lot of humour. well worth it. . . Unless you like Rosie O'Donnell!!! Commentaries tend to be split into those where the subject really wants to get involved/advise/lecture/show off and those that dont see the point in it and just mutter through. Getting the cast involved does help an awfull lot in the latter case. As Ive said before on a thread on DoP commentaries, the visual side of the film-making process is increasingly being shown DVD extras due to a growing audience savy with film production. By the way, the UK DVD of Batman Returns had its commentary taken off. As a fan of the film, can anyone rate it? only asking ;)

Ive worked for some right $%&£'s as a loader and I have sometimes wished to be anywhere but on a film set, then again Ive also worked with some inspiring people for whom passing on knowlege is a responsibility they take seriously. In fairness, all "starting" positions in film are gonna suck compared to HoD but pretty much everyone goes through it. If you think Clapper/Loading comes with pressure, what about the daily concerns of the focus puller? or the DoP? I think that too many loaders have to price themselves short just to get jobs these days but there are many people who are passionate about doing it.

If they filmed my friends and family, no-one would believe it was real!! too crazy. What sort of timeframe would people suggest for cinemas to be projecting digitally as standad? Would they ever work to a single format? And if so, then would it be easier for people to show HD "homemade movies" on them? I realise studios and distributors have control of how this developes but it would be beneficial for smaller, independant screens, no?

I was tempted to go see Catwoman, dedication to all things Gotham-based, but chickened out. Is it really that bad!!! Of course the shame of many of these is that their DoP's have often produced the highest quality work but that it will be taken for naught.

though of course it would take you ages to move anywhere in london for the damn traffic!!

I remember getting very upset watching "batman and Robin" as I realised what an awful mistake everyone involved had created. I'd rank it as my worst due to the sheer waste of potential. Worst britfilm? its harder to think of a good one but the Lock-stock rippoffs that are STILL being made are always a good laugh. . .

too true. . . The test shot is okay but have the company got DP's to test the systems fully and are there short films out there to watch? Apologies, I would have checked the other threads but they are rather lengthy. surely any new system cant be judged by a snap or two? (again, if theres other stuff out there then I apologise)

Yeah, Latch taper too. Ive noted that some people still use the tape from the side of the film can and wrap up the mag til it resembles a mummy. If tested, theres no reason why you need to cover a mag. It also helps to identify your (immaculatley written) film stock info.

Hello Aaron, The stills look great. A few questions. What was your lighting package (for the show and for other areas)? Have you got more close up grabs from the show section, the ones you have are quite wide and I cant make them out too well (probably more my own systems fault)? What was your schedule/crew like for the film? Echoing the other comments here, very few film festivals will begrudge you internet exposure, especialy with a trailer (which would also prompt a fair bit more feedback). good stuff!!

If they do justice to the 300 story they its shaping up to be a hell of a film. It will not please everyone though, I know a lot of people for whom Sin City was a painfull watching experience. Personaly, I hope this, and the 2nd Sin City flick will increase the chances of someone attemping "Dark Knight Returns" I can dream, cant I?

I would expect a members first post to be a basic question or, failing that, written in a kinda "introductory" way, if you catch my drift. . . This person has posted a pretty stupid post to get our attention, and weve all gotten stuck in. . . Any other people out there who are new to the site and want to post a question (you know, to do with Cinematography and the like) please do. honestly, what a ******************** :angry:

Wow, As much as I admire Januz, the film has to be something really special to invoke the power of the book. Any of you get the chance to read it (yes, before the film is out) THEN DO!!! It puts a lot of our everyday stresses and rants into perspective. . .

Overheard outside a cinema recently, "its got to be good, its got that Martin Lawrence in it" sigh, roll eyes, hope for a better world. . . . .