Oliver Ojeil

I was looking around here and couldn't find any posts about this movie. I think cinematography really did the story justice and projected on screen that special warm romantic Italian mood. Color separation, composition, skintones and the overall naturalistic approach for lighting added that real special touch to the film. What did you guys think of it?

Guys, there is a film made sometime in the 60s or 70s about a forbidden love between a man and a woman. Their love was cursed so that during the day the woman turned into a bird and during the night the man turned into a fox or something. The only time they could meet, and for a fraction of a second, was during dawn and dusk. Am looking for the name of that movie. Rings a bell for anyone?

Or more so to show that we grew into a fat consuming culture that has a lot more than what it actually needs to survive.

Hey Stephen, We stayed as far from tungsten lighting as possible, especially that this was our first job with the camera. Will post some screengrabs as we get to the grading process. Regards

Hey Stephen, Now that we're in the post process and am scrubbing through the rushes as I type, I second your comment, and am even more disappointed by RED in low light situations.

Hey, I have a pop promo coming up, there will be a lot of rotoscoping and many elements added in post to the live footage. The plan is to shoot on RED @ 4K with zeiss ultraprimes, and an Angenieux HR, I need to shoot parts of the promo at high speed, My DP is telling me against shooting the highspeeds @ 2k on the RED, according to him the image quality at 2k is lower than 4k downconverted to 2k, and we will need to rent another set of 16mm primes, as the ultraprimes have lower resolution on the 2k sensor size. Has anyone compared the following situations? red 4k, Zeiss 50mm HS prime (35mm film lens) red 2k, Zeiss 25mm HS prime (16mm film lens) This will keep the same field of view and to a point the same depth of field.

Okay, as promised, here are couple screen-grabs posted from the locked film. and and I am eager to hear your opinions. Cheers

We are shooting S16mm. We ended up using a brushed silk filter in order to achieve those flares. What came out more interesting is that most highlights had this flare in them, it was a matter of tweaking on set afterwords. I'll post some stills as soon as I finish telecine. Regards

Hey John, I think there is something a little bit more to it than just a light shooting straight to the lens. Usually the flares aren't as dramatic and visual.

I'd like to know how was the flare effect achieved in Usher's video. It seemed that every time a moving head hit the lens, a nice horizontal flare beamed through. Is it post or an on set effect? Thanks!

Don't tell me critics affect your choice of movies and whether you go see one or not ? :o

I was stunned by the Fracture's cinematography. I loved that strong contrast look along with imagery bathed in vivid colors and remarkable highlights. Some shots if taken apart as a still can be treated as a painting I think. Beautiful depth and illuminations, and lot of moving 20th century style paintings I guess. Bottom line, I really Love it! Awesome Job by Mr. Morgenthau!

I am currently working on opening a 2K Telecine facility here in Beirut by early 08; the facility's main focus will be music videos and commercials. I am looking for an experienced and talented full time Telecine operator. Please reply with a showreel. Kind Regards Oliver Ojeil

I thought the movie is very well put together and everything was tight from start to finish. The handheld camera work gave the plot a dry portrait I think. I would have liked to see some less shaky shots especially for those emotional ones. It's interesting to watch closely Greengrass' approach to the "master" shot and blocking, I think in some shots it was sort of innovative. In general, the shakiness didn't really bother me in this movie, I just hope not everybody will imitate it just to look cool. Oh, and I also liked a lot the color gradient effect on some close-ups; I love this kind of lighting for slick high-tech/action movies

I have footage shot on the varicam and captured into FCP under the DVCPRO HD 720p 60 codec, meaning the footage's frame size in FCP is 960x720 with a 1.33 pixel aspect ratio correction to give the correct look for the picture. After finishing my edit, I need to put it on digibeta for broadcast. What is the best way to down convert? What should be my sequence settings. 720x576, 768x576 etc. ? this is making me pull my hair. thanks for the help