Sam Eilertsen

Thanks Alex! FYI Army of the Damned is now available on Universal Video-on-Demand, and for rent from iTunes and Amazon Instant Video! DVD release is coming January 14th. http://www.amazon.com/Army-Damned-Michael-Berryman/dp/B00H3SPWH8/ref=sr_1_3?ie=UTF8&qid=1386364945&sr=8-3&keywords=army+of+the+damned+movie

Woops, OK this link should work

Nice! Very well done. There are a couple shots in there that are substantially lower production value than anything else and I might cut, otherwise I think it looks great!

Check it out: http://www.screenmediafilms.net/index.php?videoName=armyOfTheDamned Apologies for the crappiness of the embedded video player, hopefully it'll get posted on YouTube or something eventually.

Looking to buy 2 HDMI monitors for a DSLR rig. One is for me, the DP. Needs good color, preferably HD. For this one I am tempted by the SmallHD AC7. Can't spend much more than this, I'd rather spend less. The second monitor is for the 1st AC. Needs to be HD, preferably at least 7" and have focus peaking, but otherwise the image quality does not matter so I'm looking to go cheaper than mine. Also looking for advice on distribution, I have to send the HDMI signal to 3 monitors: mine, the 1st AC's, and video village. How do I do this? Monitor with HDMI passthrough? Powered splitter? Could I use two of the SmallHD 1-to-2 splitters? Are there battery-powered splitters out there? Thanks for your help!

Citizen Kane Cranes are Flying Seven Samurai 2001: a Space Odyssey Tarkovsky's Solaris Days of Heaven Godfather 1 + 2 Blade Runner American Beauty Amelie

Ugh. That's even worse than the make-everything-look-like-Instagram split toned look.

Movies: American Beauty Days of Heaven Blade Runner Directors: Francis Ford Coppola Christopher Nolan Terrence Malick Cinematographers: Roger Deakins Emmanuel Lubezki Vittorio Storaro Some runners up: Eternal Sunshine of the Spotless Mind, the LOTR trilogy, Godfather parts 1 and 2, The Matrix, Oh Brother Where Art Thou?, the Coen brothers, Ridley Scott, Kubrick, Gregg Toland, Gordon Willis, Wally Pfister

The images on the page David links to aren't showing up for me. Anyone else getting them?

S16 is only larger than 16mm horizontally so even if you are blowing it up I don't see why there would be a difference.

I'd recommend all of Kubrick's movies and all of Terrance Malick's movies. Also Tarkovsky's films especially Solaris and Stalker. Others that stand out for me are Citizen Kane, American Beauty, Blade Runner, Sunshine, and Children of Men. There are many films with great cinematography but these are films where I feel like the cinematography really makes itself apparent. This is not always a good thing, the job of cinematography is to tell the story and if it distracts from or eclipses the story it is not really successful. However in these cases I think it complimented the story rather than distracting (although in the last two on the list the photography may have outshown the story a bit).

I think the DGA and WGA have rules for this. On a non-union film however its kind of a free-for-all. I think usually it starts with production companies (such and such presents a so-and-so production) then the title in quotes, then actors, then below-the-line people like DOP, production designer and editor, the producers, writers, and director last.

I think it depends to a large degree on the camera. ISO/gain in digital is a complicated topic and it is worth putting some time into understanding it. On a RED for example, ISO is entirely metadata and there is no difference between changing in camera or in post. This is because RED records in RAW and ISO setting is entirely digital gain, changing ISO changes nothing prior to A/D conversion. On the other hand ISO on a Canon DSLR is actually two different things: analog gain prior to A/D conversion is used to bring the camera to the so-called "base" ISO's of 100/200/400/etc. Then after A/D conversion a digital adjustment is applied to bring the image up or down 1/3 stops, for 160/320/640 it is pulled down 1/3 stop and for 125/250/500 it is pushed up one stop. This is why shooting at multiples of 160 gives you lower noise, but you lose 1/3 stop of highlight protection. The new Aaton Penelope Delta can change ISO with a unique adjustment in the shutter that does not affect noise at all. In general, I think the best practice is to get as close to what you want for the final image as you can, and if anything to overexpose a little if you can do so without clipping highlights. This gives you the most possible information to work with in post. I don't think in-camera gain will ever produce MORE noise than doing so in post. The more compressed your recording format the more important it is to avoid underexposure and get as close as possible to the final image in-camera, on cameras that use heavy compression like H.264 or MPEG-2, underexposure may create serious compression artifacts that will show up in post when you try to bring it up.