Jason Debus

On Requiem the vibra device was attached to the set sound, so when he screamed it would vibrate in direct proportion to how loud he was screaming. In post they centered the frames. Someone correct me if I'm wrong, this is what I remembered from the commentary or behind the scenes.

The original Delicatessen thread has a lot of good info. Good luck trying to do it in HD!

There's a 70mm print being shown this weekend at the Aero in Santa Monica. Writer/director Steve Lisberger, as well as visual effects supervisors Harrison Ellenshaw and Richard Taylor are scheduled to speak afterwards. click here for details

Are you using a grey card to WB?

There are a few existing threads already ... : The Good German THE GOOD GERMAN lens The Good German - Has it been released nationwide yet?

I caught this film this weekend and thought it was really impressive in all areas; acting, cinematography, art direction, and writing was all top notch, not to mention the just plain great film-making that I was seeing on the screen. Definitely one of the best biopics I've seen. I wouldn't be surprised if Marion Cotillard wins a pile of Best Actress awards, she really brought the character to life. The best part about the cinematography I thought was not over-doing the different looks for the various time periods (the film weaves in and out of multiple time periods). Each had it's own look and it could have been easy to over-cook it but it was just perfect. There were probably three or four shots I thought were just pure movie magic, iconic, emotional, and evocative.

You can list all of the 'no reply' posts with the search feature. For example I did this search for the last 90 days and sorted by number of replies: Search for no reply posts in the last 90 days

I saw the L'Humanité DVD recently after reading this thread. I agree with the Bresson comparison, the approach is very similar. It takes a lot of patience to watch at times though. But the excellent compositions and camera work make it a worthwhile watch I think. Just a couple of observations on the cinematography: The lens choice was very wide, distorting on the edges at times. Most of the time it wasn't noticeable but it was distracting in a few scenes where there were vertical lines or lateral movement. A scene with the main character in the kitchen had some annoying anamorphic horizontal flares. Normally I love the blue horizontal flare but in this location & situation it felt like a mistake. Otherwise the compositions really blew me away. It's pretty amazing how Dumont makes ordinary locations and lighting extraordinary. The scenes outside the characters' apartment come to mind. He blocks them in such a way where you know instantly where the characters stand in relation to one another story-wise. The downside is it feels staged at times. I liked it enough to put 'Flandres' on my list though!

WOW was my reaction upon seeing the Three Colors trilogy as well! 'Blue' is my personal favorite. I love the shot of her reading the music with the super shallow depth of field, the focus is on the notes that are playing on the soundtrack. Simply wonderful. Kieslowski's use of music is integral to what he is doing in these later films and he gets it perfect IMO. Also check out 'The Double Life of Veronique' which I found to be in the same league as 'Three Colors'.

I breezed through the first 10 pages of thumbs, here's my impression: There's some good 'photographs' there but with so many the impression is that most of these are snapshots. Not that I'm saying you do this, but a friend of mine takes as many photos as possible and maybe gets lucky with a shot or two. In the first 10 pages of thumbs I was struggling to find one that could be a 'great' photograph. A great photograph does more than just capture an image of a person, object or landscape, it promotes a feeling or tone. If you are shooting digital in automode, perhaps try going manual and get creative with exposure and depth of field. Try making photos that are more than snapshots, perhaps plan more of what you want to accomplish in a photo. Also check out sites like http://www.photo.net for inspiration, there's some great photographers out there. You may also want to try shooting film, there's many different types of film which give you a different look and feel without having to do any work in photoshop.

If your going for something film-like you should deinterlace. What you posted looks very video-ish.

I saw Spiderman 3 at an AMC and they do this as well. Going to Arclight and paying the extra $$$ to see proper composition is worth it if that's what you get at chain theaters!

Processing Kodachrome is unique, you cannot cross-process it. Check this out: Kodachrome Wikipedia

Check out particleIllusion 3.0 software for the explosions. It's not Hollywood quality stuff but I've found it works fine for these no budget DV projects and the interface is easy to learn.

You can also link offsite to photobucket (and other pic sites) which is actually what I like to do to save Tim bandwidth. I guess since you put the link you wouldn't mind if I thumbnailed them:

You should consider becoming a Sustaining Member of cinematography.com. Members get 15MB of space, non-members only get 100k I believe. Follow this link: Membership Upgrade If you use this site and think it has value then I would suggest upgrading immediately, it only requires a small donation and is a lifetime membership. I'm also quite interested to see those photos James!

For all Lynch's talk about DV and how wonderful it is, I get the feeling that artistic ownership is also an issue in his decision. I think except for Eraserhead, he doesn't have 'ownership' of any of his feature work and receives very little money from residuals. With Inland Empire he's back to where he started with Eraserhead, getting most of the money rather than peanuts. Of course all of this is conjecture on my part, but I think it is valid even if Lynch doesn't admit it. EDIT: Since when is 20 million theatrical losing money? You are forgetting pay TV, DVD sales, etc, Mulholland Drive made money.

I asked him about this probably about a year ago and he said that he finished supervising the telecine session and it's now in the hands of the distributor. He has no say as far as when it is released. This was during the time he was supervising the telecine for the Wild at Heart re-release which is already out so it is kind of curious that we haven't seen a Lost Highway re-release.

The trailer can be downloaded here: Tears of the Black Tiger Trailer (480x360) Definitely wtf. I really like the look though!

What software you use to key with really helps, I was able to make a bad chroma lighting setup work with After Effects (both bg and fg was shot with an XL2): With better lighting you could definitely have XL2 keys that look better than this.

The age where I knew for sure that I wanted to get into motion pictures was 34. Before that there was always an interest in art & photography that goes back to when I was probably 9 or 10 when I shot an 8mm 'Star Wars' ripoff. Right handed.

I was thinking more of the 'never center the horizon' rule which in my experience most images follow.

Apple has the HD trailer up: http://www.apple.com/trailers/wb/theastronautfarmer/hd/ I just love the opening shots with him on the horse and in the kitchen, it didn't feel the same when watching the smaller trailer. I also thought this was a ballsy composition with the horizon centered, but it totally works:

The faun was real makeup except for the bottom portions of the legs. I'm curious, what made you think he was all CG, was it just the texture of the skin? Also I don't think the lighting was dark to mask anything, the sets and makeup were top notch.

Never use auto (including aperature priority), always use manual settings. Yes the sun changes the exposure but that is the lesser evil (and can also be a benefit if you plan the shot well). EDIT: I liked the night time lapse stuff but the name of your company in the middle of the image is kind of annoying.