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An early self portrait of the young Stanley Kubrick, photographer - Image source: British Journal of Photography In a 77 minute interview recorded over chess between takes on 2001: A Space Odyssey in the mid 1960's Kubrick describes selling his first photograph, his first short and making his first feature.

This is a really wonderful forum which helps me as newcomer really much. Thank your for this!   Here is a video I shot with the turned down settings as suggested in this thread on the EOSHD. Due to inexperience with all the possibilities of the GH3, I set everything on auto except the aperture. But hey that's how I learned the hard -but very fast -way about shutter speed and light frequencies. ;-) Now I have to master how to install the lapel mic  and the sennheiser correctly. The lapel picked up more non speaker sounds then I hoped for.    Footage : Panasonic Lumix GH3  Lens      : Panasonic 12-35 mm f 2.8, B&W XS-Pro UV filter Settings : MOV All-I, 24 p - 50 Mbps, modus A, Contrast -5, Sharpness -5, Color -3 and Noise reduction -4. Audio     : Sennheiser 400 MKE, Zoom H1 and Rode Lavalier Condenser Lapel Microphone omni-directional. Editing   : Final Cut Pro X  Music    : Watercolour - Bill Newsinger       https://vimeo.com/62002382

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

Like to share this music video, one shot. Done with Sankor 16C, helios  and GH2. https://vimeo.com/37423237

WARNING: Contains violent imagery.   This is making the rounds on the internet today:   http://youtu.be/bWpK0wsnitc   Look at that bokeh. Incredible. I wonder what they used to shoot this...

https://vimeo.com/18743558   After completing a few fesitvals, we've made this short film public now. It was shot a couple of years ago all on 550D. That was before I used Magic Lantern, mosaic filter, knew half of what I do now!    We're still pretty happy with it now, though we're also confident of doing better on the next one.   It was also way before Black Mirror ;)

Hi all,   Really hoping this doesn't count as a spam post - it's really a call for submissions, but other forums have taken offence at it.   I'm seeking submissions for my new blog, love24fps.com - it's a celebration of the best of live event filmmaking, so we're seeking wedding trailers, anniversary films, proposal films, other live event films, etc to showcase. Think of it as the Style Me Pretty for filmmakers.   The basic rules for submission are:   1) No copyright material. All music must be fully licensed and you must include song title(s), artist name(s) and where you licensed the music so we can give due credit. 2) We won’t reject a submission just because it’s hosted on YouTube, but we do massively favor Vimeo. It just looks nicer. If at all possible, host your trailer on Vimeo. 3) We’re not just about wedding trailers – we’ll take any live event film no longer than 8 minutes. Birthday parties, quinceaneras, vow renewals…. get creative. 4) We’re looking for fresh content, so the live event has to have taken place no longer than 12 months before your submission. 5) If your trailer uses Disarm or White Dress by Ben Rector, it had better be really good. Nothing against Mr. Rector, but if we had a nickel for every time we’d watched a trailer using one of those two songs…   Please email a link to the piece to love24fps@longhaulfilms.com to submit.   Thanks!

  'That photo of the flag looks like photoshop'. 'It is, Qasim. I have no Union Jack. But you know what, you're right. I apply one, two filters, like so ...' 'Now it looks crumpled.' 'But more real.' 'As if dragged out of a cow's arse.' 'Nobody would fake that. So it looks real.'

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

  In 2046, if cinema is to survive, 'cinematography' will define something completely different. The word, as it is used by the americans, isn't too correct anyway. Literally it means 'drawing or recording movements'. Yes, the french pioneers who made the first 'film' (material: paper), just advanced an older technique called chronophotography, in which the word photo dominates, meaning light. But early on, it was clear that film as a new technical and cultural phenomenon was successful not because it was lit in any defining way, but because it allowed to manipulate time. Take this one from 1898: http://www.youtube.com/watch?v=8oFnOAnL8Ss   'Cinematography' is synonymous with 'filmmaking'. Including the cheapest tricks and the costliest.   In In The Mood For Love, there are other major contributors to the look and feel than just Doyle: the director, the composer, the actors, and, quite humble in the background, the production designer and costume designer and editor and associate producer, all 4 in one person.   http://www.youtube.com/watch?v=ypY9OaKCfRU   Wouldn't you agree, that however masterfully and tastefully Doyle lit and photographed this film (in a way the bible for the DSLR-aesthetic-connoisseurs), he doesn't deserve to be called it's cinematographer, in the original meaning of this word. He is a cinema-photographer, skilled and with a cognizant style. But that's it.   Would William Chang, who painted the drafts, collected the props, searched the locations, defined the colors of the backgrounds and costumes (a.s.f.) feel cheated, if anyone said it was Doyle who created the look of the film?   No, because they worked together. It must have been a creative decision of this small team.    If in Pi Ang Lee thought that he only needed an experienced blue screen camera operator (in german, DOP is simply credited as 'Kamera'), he could have hired a mere technician. But he didn't. Nor did he hire the 'artist' Doyle. He hired a talented team player, who had already proven that he cared for perfect 'plates' to make the VFX artist's job easier and prevent the CGI from looking like CGI (as he says in the Arri-interview).   Who was entitled to take the award for 'cinematography' for Pi ? No one? Was there no cinematography (in the modern sense of 'cinema-photographer' as well as in the old sense 'making images come alive')?   I'm sure, in 2046 we don't wonder any more. 

The doublet wins, for my money.  Glad I got one ;)

Nice footage as always, Seb. There is so much nice architecture in France!

It's nice to see your results with the lovely iscorama.  to me a wonderful tool.  the low light anamorphic king.  sharp enough at very fast apertures and no light loss.  When you finally pull the trigger on an iscorama I think you will love the flare factory modifeid helios44 I sent Andrew Reid (optimised to make iscorama a lot more rustic and lower contrast).    

I don't think he's skeptic about digital, it might not be his personal preference, but he sides with Anthony Dod Mantle in that article, who has been shooting on digital since the Dogma movement's first days. He's die hard about having artistic control and no studio interference, which is different, and he's awesome!   I recommend the documentary/TV documentary "In the mood for Doyle" if you guys haven't seen it.

Few years back, I was messing around with the concept of a variable oval aperture to replace the one inside say, a Helios 44.   Its a tricky technical problem , but I did manage to come up with a proof of concept (see pics)   I am putting it out there if anyone wants to run with it, there is more work to do obviously, but its a start  

red stan's sage wisdom and advice on good and shit anamorphics. 1.small optics give you an easier life and nice close focus. 2.focus test your anamorphic as soon as you get it if you cannot get a sharp picture get a refund or a discount. 3.do not take any crap bull from a seller especially if he has sold you junk costing over 250 dollars. 4.if your lens has major damage it may be beyond economic repair meaning it could cost 2-5 times it's value for the repair. 5.with repairs expect a wait from 6 weeks to 3 months any good repair guy is always busy. i had a nikon lens take 6 months for a complicated repair once. 6.explain to repair guy clearly what you think is wrong it saves time and money. 7.except the fact that some anamorphics are just not worth saving or repairing 8.many ebay anamorphic optics are the same optics being purchased fiddled with then sold on. if in doubt walk away. 9.if your seller can take a foto of the lens and put a lengthy cut and past bull shit discription with a price tag of a 1000 dollars plus. ask him why he has not bothered to shoot through the anamorphic is it because it is soft : ) 10.at least 35% of anamorphics need servicing why do you think rental companies and studios had camera lens service depts. 11.main problems optic to optic alignment issue giving soft picture. dried out focus helicoid grease. dirty internal optics, fungus and external coating problems. lens separation. a lens clean and service should optimize the system allowing use of faster taking lens. why get stuck in the 1950s hollywood rut of f8-16 12.remember repairing a car after a major crash is gonna cost a lot more time and money than a simple service. 13.quality shipping box within a box method is a must. bad shipping with several impact drops along the journey will give you a bad lens. 14.i did not like ending on 13.