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The thing to bear in mind with light, is that the amount of light you use doesn´t matter persay once you get past the base intensity needed for the correct exposure. This is to say that the exposure isn´t determined by whether or not you have a 10k light pointed at an actor or a 20k. The...

All of his movies are so stylistically different, it's difficult to make comparisons to his other work. This was no exception. Visually I didn't take issue with it. It felt a little bit like an elswit movie before it got darker. I agree that the acting from everyone except eastwood left...

Why are we criticizing Clint Eastwood and 'Gran Torino' when Beverley Hills Chihuahua was the number one movie in America about a month ago??? This is the best American movie that's been made since the Dark Knight... Just about every other movie in theaters right now is horrible with a few...

This is extremely vague. I think you need to first just watch a lot of film noir movies for starters. The thing about lighting is that there isn't a "set" way of doing things so that they magically turn out good, and everything looks beautiful. Everything depends on the size of the room, the...

Vegas sounds perfect for you. It is very music oriented, with some really advanced audio editing features. Don't even worry about industry standard, whatever that even means. All that really matters is the quality of your work. That's the real bottom line. I bet that guy, Jonathan Caouette...

Well, worklights are basically tungsten, but they're slightly warmer generally. This can usually be corrected for in the image control of say, the DVX100 or any of panasonics prosumer cameras. You'll be hard to come by a cheap flourescent kit that is adequate. In terms of output, no source...

Work lights are great as far as a decent amount of output, but are difficult to control, and are not color corrected in my experience. They're a good resource though. It's difficult to say what kind of lights you should get, since you don't mention anything about the project. It's really quite...

With 16mm, you half the focal lengths of 35mm to figure out what lens you're working with. For example, whereas a 50mm lens is baseline for 35mm cinematography, a 25mm lens is baseline for 16mm. If you wanted a 25mm lens in 16mm equivelent, you'd want to find one that was about 12.5mm...

Sorry, but there were some major factual inaccuracies in the second post: Prime: Yes a prime is a fixed focal length lens... by definition, not a zoom. But it doesn't necessarily give you a "perspective" of the human eye. A 25mm prime is no more or less a prime than a 150mm fixed focal length...

Yeah, I saw this several times when it first came out. Beautiful work. The DP Tom Stern was a disciple of the late Conrad L. Hall. He gaffered American Beauty, and Road to Perdition for Hall. Obviously a lot of Hall rubbed off onto Stern, who is really a world class DP.

So, I've never shot HD before. As luck would have it, I had access to a HVX200 to shoot a 10-15min senior honors project for free. We're about halfway through shooting, and now I'm starting to think about the workflow problems I've heard all about... I'm sure this is a very rudimentary question...

Really excellent camera.

Goddard, Truffaut, Von Trier, Bergman, Kieslowski, Sven Nykvist, Conrad Hall, Vittorio Storaro, FF Coppola... I think that nobody's work is consistently earth shatteringly great, but these are a few of my favorite filmmakers.

On the subject of the key light: Don't get boxed into the idea that the key light has to be at exactly 45 degrees from the subject. The important thing to remember with the key light, is it's purpose, which is to highlight a given character/characters in a scene. This can be achieved in many...

good luck getting someone to just send you their script via e-mail so you can make it... I'm always really suspicious of this stuff. Not because you'll necessarily rip anyone off (which you probably aren't), just that, as filmmakers, half of the challenge really is coming up with a good idea...

I can't necessarily speak to the motion graphic industry, since I know almost nothing about it. But a lot of stuff related to filmmaking, there isn't really a "curriculum" either. I mean, there's film school, but I've found that mostly, its a self-driven process, that's motivated by an...

honestly cut the scene. Or find a way to make the plot work with the idea in the scene with a different scene.

I second the DVX100 if miniDV is the only option. No, it's not canon optics, it's Leica optics! which are really good too.

who cares?? honestly... nothing is perfect.

I hate to be unhelpful in this instance, but there are so many posts about this exact same thing in this forum... Try the archives.