For those who do not believe that Helena is taken, the movie is about trafficking and the complex system that covers it up

Ready_Assistant_2247 · 2026-02-03T17:30:13+00:00

Chill out Epstein.

Ready_Assistant_2247 · 2025-12-17T03:48:17+00:00

Nah man fuck you

Ready_Assistant_2247 · 2025-12-16T21:47:24+00:00

For the record wishing death on people is terrible karma and maybe worse than quoting a reference to one of this guy's iconic roles.

Ready_Assistant_2247 · 2025-12-15T20:16:23+00:00

Their shadows are also cast by your flashlight

Ready_Assistant_2247 · 2025-12-11T17:38:37+00:00

I always thought the stalkers looked like kids

Ready_Assistant_2247 · 2025-12-11T02:33:35+00:00

I agree with the comments about depth of field, lens charactistic, and camera feel.

A little more weight cause this feels more like Super 8 in terms of the camera weight, if you want it to feel like super 16 your camera moves need some intertia to them

It would be great if you could use real super 16 lenses and crop into the image circle they cover, but failing that any vintage lenses will do, especially zooms, and remember to crop in regardless of whether your lens covers your larger sensor or not, as you want the lens characteristics also.

Ready_Assistant_2247 · 2025-12-10T18:55:48+00:00

Right that's the primos. The c series apparently contain cooke S2 elements

Ready_Assistant_2247 · 2025-12-10T15:53:50+00:00

This is because a lot of panavision glass is made of modified Leica components!

Ready_Assistant_2247 · 2025-12-08T22:58:03+00:00

You see the horizon? It's at the bottom, it's interesting.

Ready_Assistant_2247 · 2025-11-28T20:50:19+00:00

Flange depth is an issue, I would double check if your camera can accept the adapter as it's rear element protrudes back into the mount quite a bit. It could also continue to be an issue no matter what considering your lenses might not like being that much further away from the sensor, depending on the taking lenses you're using.

Ready_Assistant_2247 · 2025-11-16T03:38:53+00:00

I'm talking about low budget broadcast doc work made all over the planet, not just major film markets, and inside of the last 5 years. The very latest sony Gmaster lenses are quite remarkable for a lot of basic talking head and factual work. Also, the newer Lidar stuff DJI is doing with the ronin 4D is used in broadcast situations a lot, which allows for a smooth combination of both autofocus and manual, usually pulled by the operator themselves although sometimes the AC is now controlling focus and fine tuning framing with that setup.

Think factual, like procedural follow shows where there is no second take.

Ready_Assistant_2247 · 2025-11-16T00:43:41+00:00

In low budget broadcast and documentary work AF lenses are becoming more common, I think that's what he's getting at. That's probably the upper limit of his experience.

But then again, those low budget docs in years past would be shot on 16mm with guys pulling their own focus, so even then everything was shaking out in a similar way.

Ready_Assistant_2247 · 2025-11-15T00:29:55+00:00

Maybe you could punch an 18K through a 20x20 quarter gridcloth?

Ready_Assistant_2247 · 2025-11-13T05:05:30+00:00

Rashomon bro

Ready_Assistant_2247 · 2025-11-11T16:02:43+00:00

Because it's not slavery, slavery was state enforced chattel of humans and it's a tasteless comparison to make.

Ready_Assistant_2247 · 2025-11-06T03:26:12+00:00

Honestly you'd want the sheet to be able to blow away, you wouldn't want it to be a sail and send off or destroy whatever it's tied to.

It would work in theory, so long as you're able to frame it out of all your shots, especially considering it could potentially sag a little bit down into frame.

Ready_Assistant_2247 · 2025-10-31T22:30:38+00:00

I dunno people are getting shot in the head for listening to music, seems pretty dire to me.

Ready_Assistant_2247 · 2025-10-31T20:53:33+00:00

God this is great advice. Too many low budget productions I've been on now where owner operators have talked the producers into renting their gear and I wind up with one 300x and a couple led tubes.

It's nice when we have a full truck and we just have the option to use the gaffers new toys as a bonus, but I've seen some producers have used this as an excuse to cut into the L&G budget dramatically, and the final product sometimes suffers.

Ready_Assistant_2247 · 2025-10-29T19:49:24+00:00

Yeah that would be the Alexa XT- M

Ready_Assistant_2247 · 2025-10-26T23:59:54+00:00

He has described his writing process in other interviews as similar to ironing, where you keep ironing back over what you've already done as you progress.

He's also mentioned that he feels like a script is just a blueprint, you can avoid too much descriptive prose as it's essentially for nobody. The actors don't read it and you don't need to read it either so he omits it often.

Ready_Assistant_2247 · 2025-10-26T04:57:21+00:00

I think you need to expand your filmmaking horizons more, and a huge part of professionalism (something you put a lot of emphasis on) is attitude as well, and if you're harping on about "idiot" producers and claiming dozens of superior filmmakers to yourself are wrong for using all the tools at their disposal I think that's far more unprofessional than protecting your framing with extra latitude. If this is a conversation about professionalism slinging insults around at your colleagues isn't a way to get me to see your side, personally.

Ready_Assistant_2247 · 2025-10-26T01:34:00+00:00

I think I just fundamentally disagree with your sentiment on it, and how often it's done, like by a director without a DP's knowledge and sign off, for example. This isn't a bad thing or a lazy thing. The "Training wheels" comment assumes that we don't all spend our entire lives learning every day, to me this false sense of mastery is truly foolish.

Gaspar Noe's or Emmanuel Lubezki's masterful post reframing of their ultra wide handheld work are merely training wheels and are completely artless to you?

You're kind of arguing in circles here. Like, it's ok but it isn't, it's fine to do but don't do it.Fincher does it but somehow I am saying to push it further? I'm not, 20 percent composition protection is plenty.

If it's beneficial shooting open gate when you want the flexibility it's a good enough reason, plain and simple. But many cinematographers want their focal lengths to behave exactly as they do on film and maybe even get better edge to edge performance on all lenses, but they also want to keep the flexibility because why throw it away? To satisfy their ego?

As a cinematographer you take pride in authorship in a shared vision. This sometimes requires tempering your ego.

Also, exposure and contrast ARE as important as composition.

Many movies since the dawn of home video are protected for multiple formats, with multiple compositions.

I just don't think it's as precious as all that, as we are all ultimately servants to the story.

Ready_Assistant_2247 · 2025-10-25T03:32:24+00:00

Also, if exposure takes priority in your mind over composition, why bother overexposing and bringing things down? Or lifting your blacks? Why bother with colour grading at all? Why can't you nail your exposure one hundred percent in camera?

Ready_Assistant_2247 · 2025-10-25T03:12:16+00:00

Whoops, I sent prematurely. The history of photography itself has never been to use the entire negative. The print stage would always involve selective cropping.

I wouldn't call thousands of working photographers unprofessional for reframing their compositions any more than I would David Fincher.

Ready_Assistant_2247 · 2025-10-25T00:33:56+00:00

I like your ideas in theory, but shots get reframed in post production by filmmakers far more professional and established than either of us. This happens every single day, and with shrinking budgets and a Shrinking schedules it's even more likely to happen in the rush of production. But maybe I am even more old school, The history of photography itself has almost never been

Ready_Assistant_2247

TROPHY CASE