Tim Terner

Point taken Nate. BTW, I've always had the upmost repect for anything you post

I think I read here in a thread before about Doyle, that they always have a standby DoP in case the genius doesn't turn up. Anyway, it appears that however he turns up, he takes quite accurate meter readings. BTW John, glad your tickets weren't for today, as I believed rain stopped most of the action

Thats evident from your post. BTW, most of us here are not shortsighted

These are as good as you get http://www.upp.cz , I believe they have an Arri laser - Nate, why do ask all those questions, have you any experience working in the CZ ?

That's good In a basic white walled location like you used it's nigh on impossible to produce anything out of the ordinary lighting wise. It's also worth remembering that you light the room, not the actors. Then a small tweek for the close ups is standard practice

Sorry to be harsh, but those frame grabs you posted look like poor documentary footage. My advice would be to find some still pics that inpire you and try to get as close to the look of these as possible by tweaking the worklights that are available to you

Have you tried bring the HD footage into a Premier SD project ?

Hi Paul, came across this page, dont know whether it might be helpfull to you http://www.geocities.com/leafshooter/collimator.htm

Are you directing your polaroid stance towards children ?

I agree wholeheartedly with Mike's post, but if you have to work for nothing, make sure you work for someone with talent that will appreciate it

Hi Adam, apparently there was no Red footage that made the final cut. http://www.cinematography.com/forum2004/in...showtopic=31815

After you buy the charger and XLR cable for that one at Maplins, you might be better off to consider this http://duallcamera.com/store/index_BatteriesChargers.shtml

20 ;1, And thats with recently, I suppose, A list actors. Why is digital higher David ?

Thanks Michael, that makes complete sense (and yep, I did get it the wrong way round :o ). I've shot several rolls of Foma 100 B&W recently (Handy as I'm based here in the CZ) and have not allowed for this, and the results still look pleasing, but I suppose the small difference in exposure (even with reversal film) is hard to notice. Thanks again

Perhaps a silly question, but why is Kodak --22 rated at 200 in daylight but 250 under tungsten ?

Hi Michelle, sometimes one has to be cruel to be kind, and here I'm going to be cruel. The 'photograhy' page contains nothing that comes remotely close to inspirational and the 'Reel' was even worse. It takes time to build a decent reel but great pics can come from mistakes. I really wish you every success in a very very difficult business but urge you to wait untill you have something that will impress before posting links to your site. Come on MIchelle, go and shoot something whacky tomorrow (even on a mobile phone) that can go on the site and I'm gonna be the first to applaud you

I'll jump in to second that

Firstly let me say I have nothing to do with this website but thought it might be worth a go from students to enter a 90 second film to this competition, first prize is £2000 ($4000) http://www.depict.org/

Following on from what Walter posted, if you wanted a little shadow to side or back light a little but flagged off from hitting the floor

There'a a user manual here http://www.apecity.com/manuals/Nikon_R10_U...ual_English.pdf - I had a quick look and it looks like a 160 shutter angle (works out I think at 1/54sec at 24 fps)

Good reading about the Viper workflow here http://www.studiodaily.com/filmandvideo/cu...issue/7847.html

Hi John, I think Stephen was doing a commercial for DULUX paint

It's a 100' roll, it will be inside a can on a ready to load spool, and no problem with the fridge

No problem with that film. Unless your K3 is converted to Super 16 you will be OK daylight loading in a dim room. Best of luck with it

That guy is Manoel de Oliveira, 100 years old and still making a film every year http://www.imdb.com/name/nm0210701/