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following this link should give you the full contents page for the 9th edition http://www.leabooks.com/Professional%20Boo...matographer.htm Just to back up Laurent, I would also consider it an absolute bible

check out the promo for 'Adore' by the smashing pumkins the whole video plays out in one smooth dolly shot (all at one speed), but with a contantly varying frame rate, all done in sync. the result is a mix of crazy eratic movemnt and beautiful slow mo stuff. Logically it means a complete syncing of dolly movement (presuambly mo-co), fps and shutter ramping and playback speeds. It seems too perfect to be syncrynised by hand, so it makes me think that there must be kit available that can co-ordinate al three elements. I know on the Pumkin's DVD there was discussion by the director and I think the DP, however my copy of it went walkies a long time ago. I'd love to know the technical method that they employed to sync everything. Anyone?

As much as it might sound like a stupid question, how do people normally go about attaching the nets to the rear element of the lens? On the one occasion that I have put rear nets on it was just a case of double sided tape. Normally this is fine, as it just a case of making a neat square of tape and stetching over the net. However on some lenses it gets a lot more comlicated, particuarly when the glass element is pushed in from the end of the lens, this means attching the net to the inside of the barrel, and can be really quite fiddly, I'm always a bit nervous of damaging the glass, also it is very time consuming and fiddly when it comes to the end of the shoot and you have to take the nets off to return to kit. Is it always this makeshift, or are there purpose built mounts to take rear netting? Any help would be appreciated. BL

Am I right in thinking that this was the method used for the stylised future sequences in Wong Kar Wai's 2046? BTW, on imdb the film is listed as having three DPs (Christopher Doyle, Pung-Leung Kwan and Yiu-Fai Lai) http://www.imdb.com/title/tt0212712/fullcredits, does anyone know who shot what? Has anyone every shared the DPing reigns with another DP? Is in normally divided up by INT / EXT, DAY/NITE. Do you attempt to maintain a continuety of look for the whole project or just give in to the inevitable differences and let each man do his own thing. Sorry to slide off topic, but really interested in people's experiences <_<

Hi, I'm not sure of what they offer at the moment, but it is probably worth enquiring at the international film school of wales, at UWCN (newport). I studied on the degree course a few years ago and the IFSW was just establishing itself, might be firmer now. I would say however that the biggest problem with that place is that it doesn't really have a very strong industry connection.

I understand the limitation of lighting for more than one camera, as ultimately you are always comprimising one shot against the other, with this in mind, are there any hard and fast rules for lighting for more than one camera that limit the comprimise? :ph34r:

just like to back the call for an AC section in the forum. BL

what about a flash unit from stills photography?

on the subject of mattes as a way of creating widescreen. Unless I'm going crazy, a matte is only a way of keeping light out of the lense to prevent flare?

I'm suprised that sony have brought another digibeta onto the market, surely this is virtually an outdated format, considering the range of HD that is currently available and due onto the market shortly. I was also under the impression that broadcasters were specifying more and more that the required an HD delivery. Am I missing something here?

thanks leo, so is there no difference in terms of contrast, saturation etc, only in 'sharpness' (as apossed to DOF)? also, is the two and a half stop rule similar on zoom lenses and primes?

I have often heard that lenses are at their optimum performance at t4, however I have really never been given a full explaination of what this means. Obvoiusly there are noticable differences in DOF that come with different t stops, past this what is the effect of the different aperture on the image taken. Am I right in thinking that there is an effect in terms of contrast and saturation? Also I had kind of picked up the idea that t4 - 5.6 gives the most desirable DOF for shooting the human face, enough leway to have the eyes nose and ears to be sharp, whilst still allowing the background to be soft enough to leave our attention with the face. Of course this is a variable with the focal lense of the lense. Is this factor part of the idea of an optimum stop, or a seperate question altogether.? <_<

I know there is 'TV white', which is basically a light grey, but is there a specific percentage that this should be or does this vary entirely on the lighting conditions.

Please excuse my ignorance but I'd not come across flashing before, can anyone point me to any articles or previous forums that might clue me up on it a bit better. From reading around (very briefly) I get the impression that flashing reduces contrast in the image, does this not make the blacks a bit milky? Is there any benefit of flashing the image over selecting a stock with a lower contrast. I've aslo seen that you can flash with colour, does this just put a slight wash of that colour into the blacks, what is the affect of this on the rest of the image? If anyone can answer these questions or point me in the right direction that would be great. Thanks B.L.

Aargh, I hate loosing the core, it is just the worst thing that can happen on set. However, from my understanding the lab should be able to process a roll without a central core, after all not all cameras roll on to a core (the arri 16 SRs for instance). I would absolutely hold off cutting a neg, you never know where you are cutting, it could be right in the middle of a vital take. My advice would be to call the lab directly, ask them if they need a core to be able to process, and then assuming they can, mark the can on the label, around the outside and on the sheets "NO CORE !!". I would be suprised if you had a problem

relentless, Can I suggest as a point of reference that you get your hands on the smashing pumpkins DVD ('singles' I think it's called) and look at the video for 'Adore', where the tracking, playback, f.p.s, (and presumably shutter compensation) are all worked in together and constantly changing. The result is a single tracking shot (one shot for whole video) that maintains a constant speed, following the lead singer, who maintains sync but whose movements move through the whole spectrum from jagged and erratic to beautiful and smooth. There is also a pretty good comm entry that talks through some of the technicalities, though of course it is not really aimed at filmamkers so I dare say it is pretty dumbed down. I dare say that others have done similar in the past, but for me it is a really stand out video. hope that helps :)