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Leang and Mark sorry to be blunt but your ignorance astounds me on so many levels.   The logic of the argument is what matters, and the judgement & talent of the person making the argument.   There's no other creative industry where talent is trumped by some weird class order, as if having ASC after your name makes a mediocre talent great and 'ignore the rest'. There are people with experience who I don't respect, because I don't rate their work, their art, their taste, their world view and what they have to say. Doesn't matter if they are an ASC or not.   Doyle is not a career filmmaker, he only cares about the cinematography. If only more people were focussed on that, on understanding, refining and generally getting on with it - rather than climbing a career ladder. It wouldn't happen in the music industry. With music nobody sneers at a talented guitarist because he isn't part of the RIAA. It's the creativity, stupid. In the movie industry talent somehow takes a back seat to bullshit. It's weird.   And it isn't just about the attitude, if Doyle wasn't a genius behind the camera, his attitude would carry no sway with me.   Sean's work here could have any level of standing at all and I'd still admire it as the artistic achievement it is.   I respect people based on what they do, not 'who they are'. Maybe because I am a doer, and more interested in doing stuff than bullshitting around it.

that is cheating f4... try it at f1.4 or even 0.95 : ) regardless of what john barlow says a simple locked off tripod test with camera taking lens wide open shows the improvements. of doublet close up over single element. reduced spot size on a doublet correcting light ray path giving more clarity to the image. in fact i just tested a +1 kinoptik doublet it destroys the single element angenieux. chester moore hall invented the doublet in 1740 the design has been copied ever since if it was not needed or if single element was so good then doublet designs would of died out long ago. doublets are the high end route. tiffen and schneider use single element window glass called white water not optical bk7 in the close up they make. they rely on people stopping down to improve performance. achromatics require higher end optical glass and quality spec and build.really stopping a bad optic down will cure most problems opening wide or one stop down from wide open shows the power of a good achromatic doublet design. optical law transcends vimeo pictures

Next to Bladerunner, my favorite film is Paul Thomas Anderson's Magnolia.  I take a lot of heat for that with some of my friends but I don't care, it's beautiful and masterful.  Anyway, I watched it for the first time in several years tonight with a friend that had never seen it before.  I went looking for the trailer to show them and found this:     http://vimeo.com/56335284     ...his combination of anamorphic photography with steadicam is a favorite facet of mine.

I visit my brother, niece and sister in law, and I met in Toulouse Olivier, a anamorphic lenses collector. He lent me for this week end one of his Iscorama. It was the first and hope not the last time that I have this lens in my hand. It's working very well, sharp, and usable for closed shots without a diopter.   <iframe src="http://player.vimeo.com/video/61965327" width="500" height="281" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe> <p><a href="http://vimeo.com/61965327"     GH3 AVCHD 1080 50P natural mode 1080 50P Iscorama non MC 1.5X version, apparently more 1.4X, that what I've done on post Yashica 55mm f2 Contax mount light craft ND variable filter Tokina 0.5 diopter here is a face to face Iscorama / baby Hypergonar : vimeo.com/61788864

Sorry no more movie available...   I will do a test when I will have the Tokina +0.4 achromat ;)

Come on guys, does it really need to get this low? That's why I avoid talking about my personal work here, even if that makes many in here think I never did anything and all I do is speak out of my ass. This is mostly a camera and technical forum, and still things heat up enough when talking about $1000 dollar cameras, so let's not expand the discussions to our own personal work, since that tends to get more personal and emotional, unless it's constructive criticism (which is often already quite hard to digest).

  nor does your camera work.

Wow. That's really nice of you. And, the links are really informative.   I usually let the over-smart people, on film sets (and in Life, otherwise, as well), shoot themselves, in the foot. At times, I even instigate them, to try and push their confidence, on subjects they have absolutely no idea about. Sometimes, people don't notice, but, when they do, its a dirty laugh riot ...  :P   Thanks again 

i have one of these lens...   any bond film using them the lens would not look llke  this.. we are talking a  6000 dollar rebuild it is better built than a lomo the original designer was a super talented clever engineer.   http://www.in70mm.com/newsletter/1999/57/jacobsen/index.htm   like anything complex and old it needs to be stripped down and rebuilt to get the max out of it. it may work great but these ebay dealers are mostly scum every item i have ever purchased from them looked nice and was faulty and untested.

Saying that VFX companies do the post work these days is very inaccurate. They're involved since day one, bidding based on the screenplay (and possibly affecting it) and doing previs and designing VFX and action sequences before they're even shot. I know this because like Sean I've also worked on VFX. I've been involved in projects where we started designing sequences even before there was a cast or even a DP attached. There's a huge lack of understanding regarding VFX from everyone else in and out of the film industry, and that's why the VFX artists had enough and are now trying to gain momentum in order to impove things.

You'll normally get 20% VAT, occassionally packages from Hong Kong get through without but I'd always price in VAT as the vast majority of goods do correctly get tax added.   I looked at the c mount lens but that definately wouldn't do as an alternative for me, I want to use a follow focus and ideally without using a third party focus ring, I wouldn't want to increase the scale of the footage either to deal with vignetting.

once the 3D CGI boys get their hands on the elements the original cinematography gets massively watered down and the cg element takes over the final control of the look and feel of the frame in question. I have been directing Green/Blue Screen for 17 years now for MTV shot on film and now digital and I have to say from my experiance the months spent in post completely re defines the cinematography , resizing , relighting , reframing adding cg background compositing etc etc grading etc By the time I've finished with it don't recognise my own original work it's been altered so much to create the final composite image of original film elements and added cgi elements.   I view 'Life Of Pi' in exactly the same way that's why I was shocked that it won the Oscar for best cinematography over some of the other candidates I thought where more deserving of the award.

Christopher Doyle is the man. some guys make art some guys are gaffers and others are just ... trolls That's all. Eat this All this: -Chungking Express -Days of Being Wild -Ashes of Time -Fallen Angels -Dumplings -In the Mood for Love -HERO -Last Life in the Universe -Invisible Waves -2046 -LADY IN THE WATER -The Limits of Control -PARANOID PARK the wild man: http://www.filmmakermagazine.com/archives/issues/fall2005/features/wild_man.php   :)