Chris Fernando

There was also a Doc. American Movie: The Making of Northwestern about Mark Borchardt who worked at a funeral home and his half junkie / simi musician friend that make a 30 minute horror film called "Covent". It's a great little doc. every filmmaker should see about how a not so smart guy with a limited amount of talent persiverers and gets his film made. It's actually kinda inspirational.

The film within the film was actually called "Coven" (sorry no "umla" on the keyboard). I've heard that's it actually not the worst thing ever made, but who knows.

"Lost in La Mancha" about Gilliam's failed attempt to make "Man of La Mancha" by Don Quixote is actually pretty damn entertaining and somewhat painful to watch, from a filmmakers POV.

I'v always assumed that they had a video rental company called Wexler Video, is that correct?

No relation (as stated during the end credits). Just caught up with it this weekend, best doc I've seen in a while.

You have to watch the "Special Features" section where he actually shows his father the completed work and his reaction to it (and his son's reaction to his reaction). Really brought the whole experience to a full circle (for me at least).

As far as his equipment, based on the amount, organization and the "storage space" where he kept everything (along with everything in it) it seems like he rents out that equipment, probably not to just anyone and everyone, though. Kinda wished he would have talked more about it, as his son asked him to do.

Sounds and looks like the A-Minima

God (and Allah) Bless Apathy.

From a U.S. perspective, who was elected President made a big difference in what foreign policy we implemented, so I don't buy the Ralph Nader argument that the two sides are the same.

So I assume that neither Bubba nor Osama knew anything about the bombing of the al-Shifa "Chemical Weapons Manufacturing Facility"?

And US pharmaceutical companies being a major contributor to both of Bubba's campaigns had nothing to do with the decision to go ahead with the bombing, as well?

http://thirdtablet.com/InfiniteJustUs/chom...an_bombing.html

It always amazes me when someone has an opportunity to run with the ball but just ends up dropping it, rookie mistakes, I guess.

I was late and didn't get a chance to see the clips of your film (sounds like I lucked out in not seeing it, though), but it seems to me that they could have handled screening clips of the first HD film to win major awards at Sundance, a bit more professionally and considerately. Either way, congratulations once again, sorry the expo wasn't all it could've been, and look forward to seeing it in theatres (the way it was meant to be seen).

Was it me or did the whole thing seem a bit apologetic?

I've got my ideas but does anyone else have any insight into/thoughts on why these HD "events" seem to get a bit more, shall we say, unimpressive; every year?

Hello,

 

I realize this may be somewhat subjective, but can you folks explain the resolution differences between Super 8 and 16mm running at their respective standard frame rates?

 

Thanks.

Watch something shot in Super 8 then, all things being equal, watch something (ideally the same subject matter) shot in 16. You should then be able to qualify; which may, arguably, be more important then "quantifying" (whatever that means).

I'm slightly confused...

 

They shot using cell phone cameras?!? $164,000 bucks?!? Where did the money go? Sure, I know those knew razor phones are pretty expensive but?!?

Camera and G/E crews with cell phone experience aren't cheap these days, I guess. Can't wait for that 35 blow-up!!! :o

Hey, I'm still waiting for my James Wong Howe interview CD that was supposed to come with my subscription about 3 years ago (despite two calls that ended in someone "promising" me it was on the way). I had all but given up hope of receiving it, but now that I hear how understaffed they are maybe I shouldn't be so hasty.

Think there's a future in proofreading for a film school grad?

Congratulations, Eric. Keep up the good work.

Just noticed Samsung has announced a $1,000 HD-DVD player while Toshiba has a $500 one out. At least the Toshiba is backwards comp, but the Samsung has an HDMI out :blink:

Just wondering if anyone has any thoughts on the eternal (at least for the time being) question of HD DVD vs. Blu-Ray and how long they are going to blow smoke up our ass/release titles then switch over to HVD or some other gimmick?

When you've experienced a print projection of Lawrence of Arabia, aren't you just fighting for scraps off the table discussing 480p vs 1080p playback on a 55" monitor?!

As a side note: I'm thinking about, cutting out the middle man by knocking down one of my walls and just installing a 35mm projection/surround set-up in my 1 bedroom apartment. So I can send my TV/DVD/PS2/PS3/HD-DVD/BD/HDV set up over the balcony!

I absolutely love depth of field and am dying for it's return to mainstream (and indie and perhaps even World) cinema. It's now wrongly ridiculed as some poor side effect of shooting on video without any control. Either that or it "isn't natural like in a documentary" or any other ludicrous excuses to put down the near lost art of lighting deep with hard light. Shallow DOF has it's place and lots of people do it really well, but whatever happened to epic, deep focus?

I remember reading a CML thread to this effect and someone brought up the point that with contemporary production design and color stocks it might be too "distracting" (read: video?). I guess it definitely has more of an aestethic place in B&W, though.

About 200asa double x , iam guessing , so about 800- 1000, foot candles , to get to f22. not to hot , compaired to Technicolor in th 30s-40s about 2-5asa , then shoot at f2.2 . john holland .

Wouldn't a 200 asa stock require about 1600 fc's for a f/22 (unless the formula has changed)? I guess this is subjective and dpendent on how much sunscreen you are wearing, but that's a good deal of light, isn't it?

I assume you guys mean they are loading and downloading themselves. But not all of them do; I was at a game in San Diego and one guy had a loader. For 4 quarters she was just shuttling mags back and forth from her tent to the camera. I guess some of them bring loaders along?

For curiostities sake, it would be interesting to know just how much light they were using to get a 22 with those older stocks. Lighting diagrams for a Kurosawa film - where do I sign?

That country REALLY needs some child labor laws!!!

Has anyone shot with the Arri Master Zoom?

Never shot with one, but from what I gather, from these forums and elsewhere, is that they are virtually breathless (is that a word?). Kinda nice from a 1st's POV.

Having seen one perhaps you can concur or refute.

I'm still waiting for one of these record producers to record my album for free using their personal equipment then offer me complete ownership of the product so I promote myself and earn money from the sales.

Brian,

Try Craigslist. Haven't you heard everything's free now. You just pick the apartment or house you need for you and your family (if you've got one), take your family to the set where all meals, childcare, healthcare, etc is provided and all you have to do is lens the project :D

Yes, the name of the doc was "They Call it Pro Football" and the cinematographer who pioneered that that "follow the football through the air style" was NFL Cinematographer Bob Smith. Ernie Ernst, serendiptiously filmed Franco Harris' "Immaculate Reception" on film. Smith and Ernest shot at high frame rates, but most of what you saw in the doc by the other cinematographers like Steve Andrich and Tom Karlo, to name just a few NFL cinematographers was shot at different frame rates, the most common being 36fps.

 

What was amazing to me is how those guys pulled their own focus, and how fast they could change out a magazine, and I'm not talking in a nice warm darkroom, I'm mean on the sidelines of a game while in the frigid cold of Buffalo and Green Bay.

 

Another great football doc was "Football Follies".

 

I guess you can tell it was once a dream of mine to have been an NFL Films cinematographer. -lol

Thanks for the info Wendell. I'll be on Amazon real soon!

Ditto for the career aspiration; can't think of a better job, myself (even in a Buffalo January). I once did a spoof of an NFL Films presentation for my Intro Film Prod class on Super 8, of a Turkey Bowl pickup game (not quite the same thing though). Enjoy The Game.

I remember reading an article, think it might have been on the Kodak website (What a surprise!) with Sabol talking about how he sees nothing that can replace 16 on their shoots just because of the archival qualities, I remember him saying he needs to shoot on something that can "guarantee" it will be viewable in 100 years, makes sense.

As for frame rate, if I'm not mistaken I think it's 72fps, across the board. Watched an awesome docco in one of my classes on the evolution of the shooting styles: there was one guy who pioneered the "follow the ball through the air" style while another lad developed the "start on the QB in the background and reframe to the reciever in the foreground style". Very interesting stuff. Wish I knen the name of the doc. Anyone?

All I know is I can watch that game footage for hours, I'm sure that has nothing to do with the fact that it's on film.

But, isn't it more expensive to shoot on film?

/bp

It's a hell of a lot more expensive to shoot on any film. And therein lies one of the many quandaries you are going to find yourself in, the deeper you delve into this: you've limited experience on MiniDV but you want something that looks as good as film, so shoot film right? But you still haven't even begun to cut your teeth; on even MiniDV.

I would suggest getting familiar with the format you have easiest access to right now and develop your chops there. Remember everything is just a tool to help you tell your story, it's the execution of how you tell that story that will a hold a person's attention for however long you are asking them to pay attention. Nancy Schreiber just shot an entire feature on the DVX100 called November, which you might consider renting and watching. If for no other reason than to see what the format is capable of, in the right hands with sufficient equipment, of course. Best of luck.

John,

Would you recommend taking factory sealed cans out of the refrigerator and "transitioning" them to the regular fridge for a few days, then leave them at room temp for a day or two before opening? This is stufff that was stored at room temp for about two years and been in the freezer for about the last month. As always, thanks for the help.

I just need suggestions on getting a good quality video shot. If you have suggestions, I'd love to hear, otherwise what I do to pay the bills is irrelevant.

 

/bp

Just making conversation. What kind of a G & E package are we talking about here? Are you shooting 24p or 60i?

Word to the wise: if you'd like everyone to chime in you may want to be less anonymous.