Daniel Sheehy

That is the very essence of film making. :)

In Take the Lead, there are credits for 'a' and 'b' operators on the main unit (2 cameras) and an op and steadicam for the 2nd unit (probably 1 camera, but could be 2). That would generally only mean 2 cameras on a location at a given time... and they were probably working in the manner described by David and Brian. While I don't know if the performance you're referring to would fall into that category, it wouldn't be uncommon to use multiple cameras on stunts / performances / games / etc that are difficult or expensive to replicate. Very unlikely though that the same number of cameras will roll for every scene.

Talking maybe, about a non-uniform response to different frequencies in the spectrum?

Don't move the camera unless you absolutely have to. The variety of shots should never come at the expense of the necessary basic coverage. You can then either ask the subject if they don't mind sitting and chatting further while you get the cutaways and inserts you want, plus the interview questions if needed. Or you can get the interviewer's shots earlier or later, even at another location if need be. A couple of tricks (depending on how well you work with the interviewer): - rolling during setup (maybe turn the front tally light off...) can allow you to get some reactions, laughs, gestures, cu's etc (not always possible, but worth keeping an eye out for) - have an understanding with the interviewer such that they might repeat some questions in different forms through the interview, to allow you to use that answer to get a different shot (eg, a wide 2-shot as opposed to the mcu of the talent you shot the first time the question was asked, or a close up of a nervous response that was noticed last time.. etc). At the end of the day, good picture and sound of the interview is the first priority, everything else can be worked around. Don't sacrifice the meat of the interview for the fancy shots.

Lenses. I think the answer to that realistically has less to do with the sensors, and more to do with the range and quality of lenses available. Choosing MF or larger is a completely different ball game.

It looks great! Might have to up my bid for a MK2 from an arm and a leg, to include redundant organs!

At a pinch, a bit of spit works well, though needs regular re-appliance.. It does a pretty decent job of keeping the inside of your dive mask from fogging up too! ;)

I believe this to be discredited. Take a look at snopes.com for this one. I tried to post the link, but apparently I can't use the word **obscenity removed** here. :)

Actually, he's cross posted, unfortunately. One post in a single, applicable forum would have been appropriate Eric.

Anything you can do to blur the move from friendly chat, to chatting about the interview topics to actually covering your interview topics, is a great help. In addition to the good tips from Jim & Phil, you can never stress enough that it's ok for them to stop and start. If the subject feels that they have some control over how they are presented, they often start to relax. We'd often get the subject (if they had time) to sit in through the whole set-up process.. so they saw everything going up and heard the crew banter and started to feel like they were part of a team production, rather than the focus of it.

It knocks the noise floor down even lower than '0db'. Set up a contrasty scene and play with that gain setting, you'll very quickly get a feel for what it does for you and how much it costs you in terms of levels.

The auto focus tends to get fooled by the housing lens port, so if you're using it, you'll want to be checking the takes carefully. Depending on what you're shooting, and how the camera is supposed to move relative to the action.. you may be able to use a fixed local length and focus.

Bracketed RAW exposures should help. If they're going for a stage wash so bright that the audience has to cover their eyes, I can see that looking quite good as a burnt out exposure...

So what does it all mean? :wacko:

No. I find him contrived rather than funny. And that is not at all what I am suggesting it should be. But I do believe that cinematography that draws attention to itself, over and above it's role in the story line, is inappropriate in a drama.

Any chance you had a bias against it before you even watched it? :) I watched it before I even knew it was nominated and I enjoyed it. I can't say the cinematography struck me as being awe inspiring.. but neither did it (for me) take anything away from the story. It simply did it's job - complemented and supported the story without drawing attention to itself. This is the heart of the argument. I on the other hand disagree.. I see the cinematographers art as being able to 'see' the potential for the shot, manipulate or control the light as and if necessary, frame and capture the image... I disagree with the emphasis on controlling light. Unless I'm mistaken, your definition draws a line and bars many landscape shots from being considered examples of great cinematography. What with all the hype now.. I might even go and watch it again simply for a technical critique...

That statement is just so absolutely incorrect that I'm not sure what to say! I think relying on existing / sunlight is one of the greatest challenges in shooting, because it takes a huge amount of control away from you. In a sense, playing with artificial light is easier, because you have so much control. With natural light... well you have to work with what you've got... and it's not going to wait for you. Lighting is an important part of the cinematographer's job, but it is not the sum total of his (or her) existence.

Get well soon mate.

24fps DVD release shouldn't be a problem.

Hi Jordan, You might be better off posting such a question in the Students and First time Film Makers section instead of here.

It's always good to see open minds. BTW, congrats on business being so good for you, hope it continues.

That's why the dark spot on the end of a fluorescent tube gets larger as the tube nears the end of it's life... it can't hold any more dark!

Yes, but just imagine... the glorious film highlights and great DR, wrapped up in an easy to use digital package! :)

Now a product to give you the best of both worlds. :P http://bens-photo.blogspot.com/2009/01/23-...alry-ended.html

Canon EOS 400D with battery grip, 430EX flash, Canon 18-55, 70-210, 35-105, & Tamron 55-200. I'm with Paul on the 5D MII.. ;)