Chris Fernando

What do you do to pay the bills? Doesn't sound like it's anything to do with photo/cinematography. An "intermediate level of expertise" (whatever that is) may take some a lifetime to achieve and is something, as most on these forums will attest to, that you must devote your life to in order to attempt to perfect (read: it shouldn't be viewed as just happenstance or something that you are assigned to do in order to get something done - unless you're Conrad Hall ;) ).

Whatever happened to that Jonathan Sheneman guy?

I prefer showers myself. They don't leave a trace when the pigs come-a-sniffin'. ;)

Matt, A bit too much shadow detail for what I equate with "film noir". I can see what you are trying to do with the sharp shadows but there is something that just doesn't work for me with them. Maybe it's the shadow detail/black level thing again. Just my opinion. Best of luck. Keep posting. Gotta go Colt's just kicked off. Go Bears!

Paul, Maybe a Musco behind the camera - just for a little eyelight?

Now that's funny!!! Hey, is it true the Constitution and the Bill of Rights are also now being held hostage somewhere in Iraq?

Filip, Aren't you talking about lost rez in an optical environ, though? Wouldn't you be scanning that 120 lp/mm neg or something near to that if you are going into a digital environ (for a DI, say), so that say a 6K out to a (conceivably) 120 lp/mm intermediate gets you back (somewhat) to where you were with your o-neg?

I'm actually in Southern California (Los Angeles) so I don't have any first hand info about the CC's you are referring to. Have you tried their webiste (if they've got one)? Let me know if you're considering coming down further south, I might be of more help. Best of luck.

What city/state are you planning on moving to?

Nikon prides themselves on their backwards compatibility (Though it sounds like there may not be much to go back to very soon!). All F mounts will work on all digital bodies but some features maybe unaccessible. Try these link for info on lens compatibility: http://www.mir.com.my/rb/photography/compa...urces/index.htm (English isn't this guy's first language but much info nonetheless) http://www.bythom.com/nikon.htm I hope these new Zeiss' are going to cover the 35 frame for us dinosaurs (haven't clicked on the link yet).

Sounds like they're set up for the long haul.

John, Wasn't The Man Who Wasn't There done in the panchromatic B&W printing method you describe above (originating on a color stock)? Some of the most beautiful B&W stuff since Tolland, in any case.

Yeah, but none of the films you mention (other than Pearl Harbour, which I cannot speak for because I never saw) ever claimed to be a morality play intended to document history and present a clear understanding of what is an extremely important turning point in modern politics; either via it's own voice or that of it's creators. Which, I believe, Munich clearly feels it is/does. As for the perspective; don't you feel you have no choice as to whose shoes you are in? Again feel free to disagree as well and as you said elsewhere, this is the choice of filmmaker and a choice he has every right to make (thankfully).

Coolest use of a zoom in a long time, though. :)

What I found most troubling, is how this film purports to trace the genesis of modern counterterrorism in the political powder keg we live in today; but does so in a manner that is, for all intents and purposes, safe, relatively non-controversial and seemingly one-sided/voiced. Speilberg and Kusnher spoke of "humanizing" both sides, but all I saw was a Palestinian at the corner grocery store, I'm sorry but that's not news to me. Any human will find himself at the grocery store every now and then, that's a given. Shouldn't something this important be an unbiased historical document, with something more to say than "Damn, I can't even have sex properly, anymore!"?

Oh before careful Evan, you know what they do to free thinkers who speak their mind!!! BTW, I agree wholeheartedly, but I was still engrossed enough to watch attentively for the near 3 hour running time. As for the diffusion, I think the man is a visual genius who dooesn't get nearly enough credit, but if you notice the diffusion in every shot (of every film now) isn't it calling attention to itself (IMHO :ph34r: )?

The nighttime dune scenes in Jarhead The opening of Walk the Line with the feet stomping at Folsom (How else do you open a film about Johnny Cash?) The nighttime scene in Munich with Avner sitting in the car and the two different reflections that come into the same window (Why do some people believe this guy still has to prove himself?!)

Like the dumbed-down G's that don't even have aperture settings :blink: !!!

Interesting, Leo. So, pardon my ignorance, but when and why did they starting naming lenses in series (i.e. the E-series, as I've heard them called on many an ocassion). If the E-series is in fact not a series, what does E stand for? Also, do you have any experience with the Q's, I only ask cause they're usually dirt cheap on ebay. Thanks, in advance, for the history lesson. Cheers

Maybe slightly off-topic here, although still 35 ;) , but does anyone here have any opinions on the old Nikkor-Q's; i.e. what is image quality/contrast/color like through these things, for either stills or motion pic? Thanks.

It seems like (at least at the lab I slaved away at) that cost was as much a determining factor as stock characteristics in choosing a release print stock; Fuji going out for most of the 3,000+ print orders.

Tim, Sorry, but "should be" and "is" are apples and oranges. Great forum, but IMHO (and if member's input means anything) this isn't always the case.

Was it just me or was this film not as balanced in it's depiction of both 'edges of the sword' (Palestinian v. Israeli POV) as one was led to believe in a number of pre-release articles?

If using your real name has no bearing on how you are viewed personally or professionally, on this site or in person, why not just require real names?

Know that if you can thread this thing, you can thread anything!!!