Julie Lew

I getcha. Thanks for explaining, Mark. And thanks for the link! That looks like a super cool site.

This may be a stupid question for you pros, but I'm just a novice here. What makes a filmmaker choose to shoot in two different formats, like 35mm and 65mm? Does it have to do with theaters projecting only certain formats? I'm assuming there's a good reason because it costs more money and time to shoot a film that way. :)

Hi Dmitriy! I'm not an expert in this, but as a student, I've looked up cinematography courses a lot. :) I don't think there are a lot of universities in the UK that offer a degree specifically in cinematography, except for the National Film and Television School - which, I believe, is pretty expensive. However, if this helps, here's the NFTS' page on scholarships: https://nfts.co.uk/fees-funding/scholarships Maybe someone else knows about another program that offers a degree in cinematography in the UK. If so, I'm very interested too! :)

I just saw this film and think it's absolutely amazing. I loved the fact that there was so much headroom and the actors mostly filled the lower third of the frame. I thought it worked well with the story because it reinforces the idea that Ida is subservient to God and her aunt Wanda is depressed and weary of life. Also, the fate of what happened to Ida's parents weighs down heavily on both. What I did think was interesting was the fact that often what people are looking at or who people are talking to isn't shown sometimes - or at least cutting to the object or person is delayed for as long as possible. I'm thinking specifically of the scene where Wanda is in the bar and tells the bartender to give the guy next to her a drink and then asks him a question. I also love the film's camera work, especially how the smooth long shots at the beginning are suddenly broken by the rush of a train when Ida leaves the convent.

I recommend Blender too. It's absolutely free and I had just a little problem learning to use it. But there are lots of great tutorials for learning to use Blender. I think its greatest plus is that it's free :)

Hi Josh! I'm new too, so I don't have any experience with shoulder rigs. But I noticed you posted this a bit ago. Did you get one? Does it work well in helping stabilize footage? I've been handholding my camera for the past few years, when not using a tripod, and have gotten better holding the camera steadily through lots of practice. Of course, there is still some shake, but that's only to be expected. I also use After Effects and Blender to stabilize my footage later, but it's really easy to make that look too mechanical. I'd be interested to know/see your results. I might try to lay my hands on a shoulder rig! :)

Thanks for sharing! Makes me wish I actually had a pair of stockings to do this.

Thank you so much for the resources! That video is fascinating.

Thank you for the awesome replies, guys! I can't find the Kodak book at any of the libraries by me, and I can't afford a fifty buck book at the moment. I'll go snooping around local book shops. The thread about the diy tank processing was interesting. Is it common for DPs to do that?

I'm in the midst of studying film stock. I'm reading about film emulsion and the chemicals needed to develop film, but I'm dying to see how exactly film is made. I understand film needs darkness (making it hard to document its process), but is there something I can see or read to learn more? My two main questions right now are: * What is done to film to make it faster/slower * And how do you make film stock a certain balance, like tungsten or daylight?

I've listened to a lot of ASC podcasts and the DPs often talk about their different approaches to lighting for film and digital. But I've heard very little about lighting for 3D. Is there anyone here who can tell me what special lighting challenges 3D poses and how you worked with these challenges?