Richard Vialet

Go see it again! I saw it a second time and that time i noticed the very very subtle use of score in certain scenes. It's really subtle but very effective and I think it adds to the tension people feel throughout the film and you don't even notice it the first time around! Brilliant!

Hey David, What's your website? Curious to see the stills...I'm sure the site's name has been mentioned somewhere on here before but I can't seem to find it...

Not sure about the specifics about Margot at the Wedding (sure there will be articles and stuff coming out soon), but Savides seems to usually stick to the lower contrast Kodak stocks like the Vision 320T when it was around (Gerry, Birth, The Yards?) and the 500T Expression stocks (Last Days), and supposedly likes some underexposure, so I'm guessing its the same for Margot. I really interested in what he did on American Gangster and see the outcome in theaters, supposedly he used that new Technicolor desaturation process that they have (called "Oz" I think, silver retention maybe?). Maybe the great all-knowers can chime in?

Yea, the camera is native 1.78:1. But it has the option of giving you custom framelines in the viewfinder and the monitor output that you can set to whatever you want. I was giddy like a child when I realized this, lol.

there is an option in the operations-->display menu where you can set the specific aspect ratio u want. I think the option is called "Marker". You can use it to create any aspect ratio you want and it will show up as a sort of electronic "groundglass" in the viewfinder and any monitor output. The most exact way to use this is to frame a framing chart and set the "marker" to that to get an exact 1.85:1 frame. Record the framing chart and then crop it in post. Hope this helps.

I think he overexposed the stock by two stops, pulled one stop in processing, and then printed the rest down. I may be mistaken but he describes his technique in the forum section of his website: www.rogerdeakins.com. You can go there and get it from the man himself.

I don't think that Michael Man tries to get a "filmlook" when he shoots on video (he clearly pushes the medium to its limits: i.e. pushing the gain pretty high and even when he shot with the Viper it was in HDstream mode instead of FilmStream). I'm pretty sure that if he wanted a "filmlook" he'd shoot on film. And it's continued to frustrate me that some filmmakers and fans (in general) feel that if a film shot on video looks "video-ish," that automatically makes it bad. Embrace the medium.

I've shot one roll of 5205 and developed through A+I when they first started this a few months ago (they had like a month turnaround...jeez!). And I got the slides back and they had this heavy magenta cast on them. All my other AFI classmates had the same problem as well. I brought this up to A+I and they gave me extra film and said that they think it was just bad stock. They mentioned that they're really still getting the hang of it (they shortened their turnaround time to like a week now). So they ARE really trying to get it right. They also mentioned that people have complained about the slide prints coming out reversed (with the emulsion side as the image side). They're trying to deal with that as well. If they can work out the kinks it might turn out to be a pretty cool service. Got a roll of Eterna 500T that I'm excited to shoot this weekend as a small test.

Good Luck to both of you from a first year AFI fellow

I'm extremely surprised and disappointed that the visually stunning and poetic BABEL was not nominated...and in regards BLACK DAHLIA, it had good lighting but other than that I was not that impressed My favorites were (in no particular order exactly): BABEL CHILDREN OF MEN THE GOOD SHEPHERD PAN'S LABYRINTH THE PAINTED VEIL (does anyone know info on the photography of THIS film?) THE FOUNTAIN THE PRESTIGE APOCALYPTO THE ILLUSIONIST LITTLE CHILDREN CURSE OF THE GOLDEN FLOWER THE PROPOSITION ASK THE DUST BLOOD DIAMOND THE DESCENT

Yea I was hoping that he wouldn't do the same thing to REDS. And I think that the DVD is coming out sometime in October (i think the 3rd if i remember correctly). I saw a commercial for it the other day. It looked like it's gonna be in standard 1:85, but sometimes you can't judge by these advertisements. I can't wait for the DVD and hope I'm not disappointed...

You are not alone! I'm an insane "24" addict myself! I think its the best show on television, and I feel that this last season was the best. And yes, David Mullen is right about the 5229, i think it was a 2003 issue of AC that featured "24" as their cover story and mentioned that stock as the one they use (hey it might be the '18 now who knows?). And I don't think they mind grain during the nighttime stuff because I've seen many sequences on the show where the grain is very noticeable (especially in seasons 1 and 2). Also if you didn't know this already, just a little anecdote: episodes 22 and 23 of the 4th season were shot on the Panavision Genesis. Actually I think it was one of the first times it was used in a major production. Those episodes look amazing but Charters wasn't satisfied with it and switched back to 35mm for the last episode. I forgot where I read that, but there's an article somewhere on the net about it. But anyways, "24" is great!

Many of the examples people have given on the thread have been great! Many of them are my favorites! But I don't think I saw any examples from AMERICAN BEAUTY. I think even though the film won numerous awards for cinematography I believe that it is still a little underrated. Its not really mentioned as much as Road To Perdition is, and I believe that it ranks up near the top of the list of his best work. Besides the rose fantasy sequences, I loved: *The medium profile nighttime shot of the Colonel as he sees his son doing a "dirty deed" next door. He is lit with a slash of light from the window at first, but then in his disbelief, he backs up into the darkness of the room, disappearing for a moment, and reemerging in a dramatic silhouette against the other window in the room. *The shot when the same Colonel, who, after he humiliates himself with Lester, walks shamefully out of the garage into the perfectly backlit rain, and completely disappears in the darkness. Ones that have probably been mentioned before: * The plague of locusts in DAYS OF HEAVEN * The leaves blowing during the camera push in as he escorts his mother out of the car in THE CONFORMIST -some wonderful closeups of women in that film too * Close up of smoking Sean Young during test and dying Rutger Hauer in BLADE RUNNER * The incredible handheld/crane work in the cane fields in I AM CUBA * The long shots of the hallway to room 2046 in IN THE MOOD FOR LOVE, with the flowing red curtains and all * The tracking shot into the swamp as the man goes to meet the woman in SUNRISE * The crane move on Jennifer Connelly starting from a silhouette against the backlighting ambulance lights in HOUSE OF SAND AND FOG. The crane shot moves around her and the backlight turns into a beautifully underexposed key on her face. I thought it was very moody and lyrical Those are just a few...I'll stop now lol

The 100B records native 16:9. The 100A just crops the image to that ratio.

Thanks David! That was the best answer anyone has ever given me to my questions! I'm gonna save this page for reference purposes in the future. The new SHADOWBOXER trailer looks great by the way.

this may sound stupid but David you implied that the color-timing happened during the intermediate (positive) stage (hence with the name digital intermediate)...i mean i know the term "printer lights" has the term "print" in it but i always assumed that you mainly used them for color-correction when printing to the interpositive and then you strike an timed IN master from that and then make your release prints... can you expand on the timing stage a little more, and what is the purpose of the intermediate? Also a question that has been nagging at me: when timing in a DI, do cinematographers generally still rely on specialized printer-lights or do things like skip-bleach processes on the prints after the fact, or generally, is it the norm to just get the whole look in the DI? sorry if this is too many pregnant questions...!

this may sound stupid but David you implied that the color-timing happened during the intermediate (positive) stage (hence with the name digital intermediate)...i mean i know the term "printer lights" has the term "print" in it but i always assumed that you mainly used them for color-correction when printing to the interpositive and then you strike an timed IN master from that and then make your release prints... can you expand on the timing stage a little more, and what is the purpose of the intermediate? Also a question that has been nagging at me: when timing in a DI, do cinematographers generally still rely on specialized printer-lights or do things like skip-bleach processes on the prints after the fact, or generally, is it the norm to just get the whole look in the DI? sorry if this is too many pregnant questions...! Im sorry i made a mistake on my last post and i couldnt figure out how to edit it...i meant to say that David implied that the correction happens in the PRINTING STAGE and that I assumed that it happened in the INTERMEDIATE stage im sorry for the confusion and i hope you can still answer my questions this may sound stupid but David you implied that the color-timing happened during the printing stage. I always assumed that it happened during the intermediate (positive) stage (hence with the name digital intermediate)...i mean i know the term "printer lights" has the term "print" in it but i always assumed that you mainly used them for color-correction when printing to the interpositive and then you strike an timed IN master from that and then make your release prints... can you expand on the timing stage a little more, and what is the purpose of the intermediate? Also a question that has been nagging at me: when timing in a DI, do cinematographers generally still rely on specialized printer-lights or do things like skip-bleach processes on the prints after the fact, or generally, is it the norm to just get the whole look in the DI? sorry if this is too many pregnant questions...! Im so sorry as you can see im trying to edit my post and im just doing a HORRENDOUS job of it!!:(

QUOTE(TimCarroll @ May 13 2006, 04:48 PM) What is the purpose of a 500 speed daylight film? To sell more ND filters? Never understood that. -Tim I've heard of many DP's using the stock for very low light magic hour shots, in which you need the speed and the daylight balance. Also, some cinematographers use it for very high speed work during the day and need the fast film speed to compensate. An example of this is Stephen Goldblatt using the stock for the beautiful overcranked sidewalk shots in CLOSER.

Hey mike! Can you tell us a little bit about your experience in the first year...i mean by now we all know what the year entails but I'd love to hear it from someone who just experienced it. Whenever you get time though. I can imagine you're probably busy...

Oh i dont think u need to worry about that Gino! I'm pretty average in "regular" classes myself. And I asked the admissions manager JJ about it and he mentioned that previous grades are not that important, they only wanted to see my transcript to see whether or not I was getting my bachelors degree in order to qualify for the masters. But he said itll look kinda bad if your a complete failure in your classes but overall not as important as your work sample or essay. MAyrock: yea i feel the EXACT SAME way about my cell phone too...i dont like talking over the phone (unless its someone like Stephen Lighthill)...sometimes i just keep it off --and thanks for the info about the instructor, ive been planning to get that book for some time now...now ive got even more initiative lol!!!

YAYYY!!!! Congrats Mayrock!!!! I feel amazing as well because I got a call from Mr. Lighthill yesterday as well...and I'm in!!!! It's the wierdest feeling to get a call like that after you've been waiting so long for something like this. So i'll definitely be seeing you around Mayrock. Maybe we can exchange contact info or something. I don't know how I'm gonna pay for it but ill figure it out...that'll come. But now its time to just hunker down, graduate from undergrad, and mentally prepare for this. If there are any present fellows or alumni that have any words of advice or anything that would be wonderful. And good luck to all the other applicants, the week is definitely not over yet!!!!

Check out the special features on the DVD set for the first season of Six Feet Under. If i remember correctly they explained just that when they broke down the production of their famous title sequence, which includes the quick wilting of a flower in a time lapse...i forgot what they mentioned though but im pretty sure it was some kind of chemical.

Hustle and Flow (Sundance 2005 cinematography winner) and March of the Penguins were the best S16 films that I've seen this year!

Really like it!! I've watched it 3 times! I really didn't need to know exactly what its about because I assumed the trailer was sort of a teaser. Great set design and use of the practical lighting (or enhancing of the practicals) really worked at creating a claustrophobic/isolated atmosphere...if thats what u were going for...:) Good job...Questions: what do you planning on doing with the finished film, is the footage color-timed or is it the raw footage, and how did you get the widescreen ratio...just cropping in post? Congrats and good luck!!!

**"I don't know of anyone with more of an encyclopedic knowledge of films then Quentin Tarintino. " I think MARTIN SCORSESE takes the cake with that one...but Tarantino does know alot though gotta give him that...