Oliver Ojeil

Thanks guys for all the ideas & suggestions. I will post some still refs once I have it telecined. Jarin, this is exactly how we're thinking to light the faces on set. Soft lighting, soft boxes, kenos, etc. and then in telecine we can overexpose it until it hits my target.

While it might be couple years old (7yrs) This book is a must read Rohini. It covers many topics in 3D lighting, from history to techniques to aesthetics etc.

I remember when I first saw the trailer, I was taken by the magic of the locations and photography. I love the natural lighting feel it casts. I am personally biased to this kind of cinematography, and about once every decade a movie like The Painted Veil or Out of Africa, etc. come out. The more natural looking the cinematography is, the more I am taken by the magic of the location and the actors. With all this said, unfortunately I couldn't see it when it came out in theaters! I'll just wait until it comes out on DVD and I'll watch it on a 43" LCD.

I see Jarin. I am not going for the authentic look though. My look is kind of bathed with highlights with crushed shadows. It should look kind of vivid and hot, that is the intent. I am going for a style B&W here.

Hey Kev, which DSLR was it?

I usually use yellow or red filters when shooting photography in black and white. Do you have a link to any of those stills? I'd love to take a look at them. Thanks

Do I have the same control over it in telecine as I would with color stocks? Am sure I'll have to do some twisting to achieve the scheme I am shooting for. Any specific stock you'd suggest?

I am shooting a music video on 35mm where I have a scene by the sea in black and white. I was wondering what would be the best way to achieve a rich contrasty look, with deep shadows and prominent highlights. Would it be shooting on black and white stock or achieving the look in post?

Am surprised no one mentioned Discreet Lustre. This software is amazing, but it has some learning curve to it.

I am in the same spot as you are. I have been looking at DP reels for the past 2 days, mostly from France and Italy as the agency requested a foreign DP. What I first look at is whether the DP has shot on 35mm or not since the commercials am doing will be shot on this format. In my case, these guys are top notch so they all have 35mm experience and dozens of commercials on their reels. The next thing I look at besides technical quality is story telling abilities. I also look at whether the DP has a previous experience with my subject being. If you're shooting a commercial about a food product for example, you'd better pick a DP who has done food commercials in the past and have a reel solely on food. It also falls under one's own aesthetic. You might love a certain DP's work and end up working with him when his experience might be much less than another seasoned one with less liking to your aesthetic. Good luck!

With the XLH1 as with most HDV Cams, there are no miniDV tapes that can handle the high data rate these cameras capture at their HD formats. Usually a P2 card, or a firestore external Hardisk is used in the case of the XLH1

sure thing David, but I think that attempting to tell a story silently creates many intersting challenges. Attempting to make modern silent films could be a very creative process, one that uses body language and facial expressions in a clever way. Color, lighting, pacing, cutting would all add up to the narrative.

has there any modern silent films been made? I have always looked at those good old silent movies with so much respect for many reasons. I'd love to hear if there has been some attempts in modern cinema (recent 15yrs) in making silent movies.

Without a question, dynamic range.

Since you are looking for help in aesthetic, I advice you to research and watch music videos that fall in the same genre. I hope this is not late, but nothing helps more, speaking from my own experience of course.

Dear Josh, one can not critisize a form, a matter, or history in this case, without being knowledgeable of the subject. Your argument is clear on the cinematic end, but to say that mankind could survive Jesus' secret is a bit off. I suggest going back to history books and getting cultured on what was done in the name of Jesus, you can start by the crusades if you want (I am not arguing whether it was right or wrong for them) or other holy wars. It is not something that humanity took so lightly in the past. Having the christians' number (not that numbers mean anything) off by that much is a little ignorant. How many states there are in the US?

Anyone?

Don Vito Corleone -- Marlon Brando Don Vito Corleone -- Robert De Niro Melena -- Monica Bellucci Cpt. Jack Sparrow -- Johny Depp John Milton -- Al Paccino Hannibal Lecter -- Anthony Hopkins Gollum -- Andy Serkis Maria -- Pupella Maggio (Nuovo Cinema Paradiso) Modigliani -- Andy Garcia King Kong -- Andy Serkis

How can one find out about a specific crew member in a given music video? For instance, I am looking for who DPed the Massari's Real Love music video, and Pussycat Doll's Buttons. Thanks

I don't understand what you mean by "not very usual" about light meters. They are an essential part of shooting HD just as film. In the case where you don't have one and really needs to get correct readings here is a helpful "limited" tool: if you have a digital SLR still camera, they all have a +3/-3 reading meter. Zoom in on the dark area and get the right fstop so that your meter will say -/+0 then repeat this step for the brightest area. You should have 2 stops (readings) by now. All you need to do is compensate between the two. Remember to set your ISO in the SLR menu equal to the one your video cam has. (check the manufacturer's catalogue for that) Best Regards

Anyone can help guys? Regards

Anyone knows any online? Regards

Dear all, This brings to my memory what one of the founding fathers has said: "When the government fears the people it is democracy, but when people fear the government then it is tyranny." This is exactly what is starting to happen.

Dear Jeff, I totally agree.. When I first thought of opening this thread, it wasn't to debate the formats that I'd shoot on, rather the affordability, but the topic got sidetracked onto formats' selectiveness. I am quite firm about shooting on highend HD, since they can not afford film at this stage, and all I wanted to know was whether 10k/15k would be enough for a job as such. As you all know, the format you shoot on, regardless of your output, makes the picture looks the way it "looks", from DOF, to saturation and richness, etc... Regards

Dear Steve, What was the scene where the camera tilts up revealing a man and woman kissing in a car shot on? Also the scene where a woman comes down the stairs and walks toward the door, where exterior lighting illuminated the hallway, what was it shot on? Regards