Justin Hayward

Are you really sorry?

Do you find that the people that can admire truly great cinematographers are the same ones that can't be great themselves? And, vice versa? Sometimes I watch documentaries on some great filmmakers and I'm shocked at how uninformative it is. It's almost like they don't know how good they are. But, I appreciate that as I?m in with the admirers.

I let everything outside the platform be what it is, but I used cool white bulbs in the kinos to match the florescent practicals. The color was close, although I think my gaffer added 1/8 +green as well.

No.

The anamorphic print looked nice. The trailer actually made us think this film was about real magic, but the movie was a little different. I went into this film with very low expectations as the reviews were pretty terrible, but I came out pleasantly surprised. I was interested from the beginning. I was curious about the characters and interested in the story. To be honest, that's all I ask for these days. It was funny how Hugh Jackman found a double that looked EXACTLY like him; an accomplishment not the most common.

Yeah, I used the 35mm on both.

It has a very nice tone. Really good work.

The clouds were added in post. The dolly in on the woman through the train was impossible for us to do in one shot. We would have had to be on the street with a jib or a crane or something, but we didn?t have the street. So, we shot the train passing from the platform, flopped the film, and pulled a luminance key of the dolly in on her, so it?s actually two shots. We just had to make sure there was no writing on the train or it would have appeared backwards. I started the dolly with her out of focus, and then pulled her in hoping they would use the bit with her out of focus and then pulling her in focus just as the train passed, to look like we were pulling focus from the train to her. I figured it might sell the shot a little better as we were shooting such a shallow depth of field on everything else, but they wound up using the second half of the dolly shot with her in focus the whole time.

http://www.cinematography.com/forum2004/in...o+we+call+video

Thanks guys. She was lit with kinos gelled with 216 and different ND usually just out of frame. It was very dim. Most of the lighting was simply turning off or flagging off practicals. I found there was light coming from everywhere, so a lot of the time she was just surrounded with 4x floppy?s. Before I was hired, the producers assumed they would have to change out the bulbs in the practicals, but they soon found out it wasn?t going to be cheap. The city wouldn?t just let us do it ourselves, so they offered to send out some guys, but apparently they wanted a lot of money. After visiting the location I decided changing the bulbs wouldn?t be necessary as I was getting exactly a T1.4 at 24fps . I knew we wouldn?t be over-cranking anything and I knew I would be exposing everything at a T1.3 already, so I told them it would be fine. The color all matched pretty well, but I had previously talked to the director about letting the color shift a little under each light anyway as it would help everything look a little more grungy. The producers were very happy with me.

Hi, A spot I shot recently popped up on this website... http://www.bestadsontv.com/ad_details.php?id=3930 ...so I thought I'd put it on here as I feel it turned out quite nice. We shot 5279 on an Arri 3 with Ziess T1.3 superspeeds (18, 35, 65, and an 85mm). I chose the lens due to the backgrounds. I lit everything down to a T1.3 in order to get nice exposures of the city. Justin

Cannes Sundance Venice Berlin Toronto South by Southwest Tribeca Florida Telluride Ann Arbor Slamdance and many more... Most major cities have decent film festivals such as the Chicago International Film Festival or the Los Angeles Film Festival. To be safe, make sure you submit to the biggest festival in the area first as they sometimes require a state premiere. You can also check out withoutabox.com.

I've never heard the term either. Is "Ali G" considered to be making fun of "chavs"?

When you submit your film is most important. If you wait until the final deadline, you pretty much have no chance. I've been accepted into festivals before they stopped taking submissions, meaning (like you said) they already had their schedule and were just taking people's money. Submit to the top ten or fifteen (Sundance, Cannes, Tribeca, Toronto, South by Southwest, Berlin, Venice, Telluride, and a few others I can't think of) and if it gets into at least one of them, the other smaller fests with ask you for your film and waive the submission fee. In some cases they'll pay for everything, all the way down to the cost of shipping.

Yes, I was curious if you had any say whether or not they blew out the highlights... in the end, or whether or not you wanted them to. I meant are you involved with the "final" correction? I guess not.

So, are you involved with the final transfer?

Who set that rule and why? The backlighting outside may get boring after a while, as you said, but are there scenes that take place in the early morning or later in the afternoon? Low frontal hard light can be very flattering to actors, on occasion.

But, "bomb" tends to refer to money, not quality filmmaking. Not that some "bombs" weren?t bad, it's just that the term is usually mentioned with regards to how much money it made, not whether or not the film worked. "The Phantom Menace" wasn't a bomb, but it wasn't that good either.

It all depends on how you present yourself. Light is light and light falls how it falls, no matter what you use to light or cut it. If you approach the situation with some confidence and tell people what you want with authority (but absolutely no disrespect, and especially without being cocky), people will respond appropriately. I shot a commercial on Friday with a crew that was twice my age, but I knew what I wanted (for the most part) and was pretty confident on how it would turn out, and I got nothing but respect and help.

Trouble is, the advancement video has made in the past decade far surpasses any advancement from the 60's to 70's or 70's to 80's. If video (HD) advances the same in the next decade as it did in the past decade, I can't imagine what it will look like by... 2016. Ya hear what I'm scream'n?

The only time backlights really bother me is when they?re used outdoors when the sun is obviously coming from some other direction and a mirror or some diffused HMI is providing a very unnatural edge light. I?m thinking of playing this next project I?m doing entirely in silhouettes as opposed to heavy backlighting. I?m going to used practicals (and supplements) to light the walls but let the actors go totally dark with one or two hot ?sunlight? hits for them to walk through occasionally. With a little smoke, I think it could be really interesting.

I am crazy. It's just the boxes, no copies. I just saw "full screen" and moved on.

I saw three copies on the shelf at Lion Video two days ago. I just assumed it came out last week. I didn't rent it, because they were all full screen. Would they put pirated copies on the shelf of a video rental chain? They must have gotten the copies in and just put them out early or something. Now I got to go back and make sure I'm not crazy.

It's funny you say you would regard digital shooters higher if they would admit the good ones are a minority compared to all the hacks when you refer to editing as "using digital intermediate".

Are you offended when people who shoot video disobey you're rule and call themselves cinematographers? It sounds like you?re talking about children.