Anthony Kennedy

Can someone tell me how vision3 and vision2 differ? Also what would you consider the nicest daylight stock? I can't find any decent hd examples of vision3 50d, could someone please link a few?

Bumping this thread!

Very impressed given it was in camera editing (I used to do this with my parents camcorder when I was 13, but at last with that you could rewind and do another take if something went wrong).

I just spent the last three days shooting. It's been great fun, I can't wait to get this first round of film back, and post my results!

Chris Doyle style

The only lens you really need is the 35mm f/2. Lots of stuff you can do with it. Make more films, buy less gear.

I'm going location scouting this coming week with my dslr, so I should have a better idea as to what the lighting is like, but if memory serves I'm going to need asa of at least 500.

Thanks guys. I'm going to go for in camera. I'll post the footage in a few weeks

Luckily most of the subjects will be the architecture, various murals and sculptures in the underground transit system. Also there will be very little or no daylight in most cases, it's more of a case that there is a mix between tungsten and fluorescent.

Do you live in Montreal? If so I am very eager to work on as many sets as possible, if you ever need any assistance I would love to help. Can you elaborate on what you like about Fuji (which stock in particular) and what you like about 7219 (I know there are many fans, and supposedly it is low on noise)?

Could someone explain how to achieve this? Is is shot like 16 frames per second, but the characters are moving super super slow, and water is dripped on the lens?

I'm shooting on a bolex, I figure Kodak 500t is the best option (I remember reading in a topic, that it "saw into shadows well). That being said I've also heard that fuji does better with mixed lighting sources, and the metro certainly has a mix of tungsten and fluorescent. I'd also be interested in the best place to transfer it in Montreal. Any general tips for shooting in the Subway?

I'm very of the mind that one should plan something out meticulously, but always be open to happy accidents, and inspirations on location. If you suddenly see a new shot that wasn't on the shotlist, or perhaps a shot, that will allowed you to cut out three set ups and still tell the story better, than take it. Storyboards are great. If I have the luxury of spending a lot of time on location, then I will use people as stand-ins and do storyboards with my dslr (accounting for the aspect ration and everything). That being said, some of the shots I'm most proud of came out of the sun coming through the window just the right way, and taking advantage of it. Also if you're working on a low budget film, your actors are likely less talented and less experienced (or perhaps, talented, but used to a different medium like theatre). It is very important to spend a lot of time rehearsing (in the weeks/days coming up to the shoot, not just before the takes). Make sure you rehearse initially, in a more comfortable, natural way without the camera, so they can get a grasp on the emotional arch, then bring in the camera(s), and rehearse with them, so they know where to go, when to cheat, so on and so forth. The day of the shoot I wouldn't rehearse or I'd do very very little. A well rehearsed, focused actor, will almost always give their best performances in the first 4 takes. Under no circumstance should you do more than 3 takes, if the performance or camera movement wasn't right, it is your fault for not preparing enough. Very few professional actors will do more than that, and especially when you're not paying someone, you can't expect more than them, especially if you're shooting the same performance, as it will be very hard for them to bring some new "truth" to the scene on their 15th performance. It wont matter if you do 12 takes, and the 11th one happens to be great, if the performance they give at every other angle is compromised afterwards, because they're now on their 13th performance even though it's just the first take on an alternate angle. Make sure between each take the notes you give actors will actually help them improve on the next take. If you rush through giving notes, and if you're vague then you'll end up doing many takes, until by chance, it at best, sort of, falls into place. Gives actors simple tasks, do not over-intellectualize the scene for them while shooting (all table work is to be done in rehearsal). Do not tell them to "be more sad", you can not act a generalized emotion, give them an action...such as "confess" or "divert" or "erupt".

The only s16mm camera I've used has been aaton xtr and it was an absolute delight. Especially if you plan on doing anything handheld. It actually feels like it is an extension of your body. Listen to other's advice though, because I've only shot on bolex and digital other than my one aaton experience.

Self conscious cinematography, could also be used in a Brechtian way

It looks like you did a number of zooms while using the glidecam, how did you achieve this while staying stable (did you have the arm attachment?)? What focal length do you typically use when using the glidecam? Do you change focus as you go? Did you have a focus puller?

Really excellent! I absolutely adored it other than the type face for the title (which you had nothing to do with), and the final 10 seconds or so (not that is was bad, I just didn't feel like it resolved the film as well as it could have). It appears that most of it was handheld, what sort of gear did you use in tandem with your 60D. Once again, I'm very impressed. How did you get involved with this film? Who wrote and/or directed it? Also excellent actors. Please tell us more about the whole process.

http://nftsfilm-tv.ac.uk/ is very reasonably priced for EU residents and is one of the top film schools in the world.

The Rokinon is absolutely lovely. I would suggest just sticking to primes.

Thanks for the video. Some beautiful footage. I have a D7000 for photo use, but I might consider trying to do some video work with it.

Good stuff, keep it up.

Hello. I'm only an amateur film maker, and would love to get any experience possible in Montreal. If you ever need someone to assist you on anything I would be very interested.