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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Indiana Jones IV starts shooting schedule

Casey Green

Casey Green

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Not sure if this was already posted, but if you haven't seen it, it is a quick video released by Steven Spielberg from behind the scenes of the first day of principle photography on Indy 4.

http://www.indianajones.com//community/news/mov/firstday.mov

This is gonna be good... keep an eye out to see if any RED betas are on location! (Hey, ya never know.)
 
You think Spielberg would ever really go digital? I expect him to die with a 35mm camera in his hands, 40 years from now, lol. ;)
 
Any idea about the camera Spielberg is shooting from this photo below?

Panavision?

Arri?

Also as I can see it EVF rules!

Spielberg_1.jpg
 
Ya thats a panavision body alright with a pana lense and the whit block battery ratchet strapped down also gives away panavision gear. I have never understood why so much of panavisions stuff is white. It is consistantly hard to hide in reflections and causes more work. I am not sure if I can tell if it is a millenium by the picture, the millenium is a really bomber camera camera though.
 
wow, alot of people must be hitting that link:

"The connection has timed out. The server at www.indianajones.com is taking too long to respond."

I think in that pic of Indy sitting in a chair they released a few days ago...he looks OLD.

not that there's anything wrong with that! the talkbackers at AICN dont though. good marketing move!
 
You can see an Arri-435 I think on the remote crane in another shot.

Yes, that's a Panaflex, probably a Millenium judging by the little cut in the body near the base. I can't tell if it's an anamorphic or spherical lens though, but it looks too small to be an anamorphic lenses, though there are a few that are that small. Probably means he's shooting in Super-35 though.
 
Finner said:
Ya thats a panavision body alright with a pana lense and the whit block battery ratchet strapped down also gives away panavision gear. I have never understood why so much of panavisions stuff is white. It is consistantly hard to hide in reflections and causes more work. I am not sure if I can tell if it is a millenium by the picture, the millenium is a really bomber camera camera though.
Click to expand...

There were a few early prototypes of the Arricams which were white. And the very first thought I had was exactely the same you stated.
Does anyone know if there are benefits to paint the cameras white? I mean quite all panas were white as long as I've ever seen them.
 
Wow, this was really great to watch. The two amigos, at it again!
 
David Mullen ASC said:
Keeps the camera and film cooler outdoors...

I mean, why are Mole-Richardson lamps painted burgundy/magenta? So they don't look like LTM and Arri lights.
Click to expand...

Exactaly right about the cooling. Also why every Photosonics or Wilcam hi-speed cameras were white. Had to keepum cool out there on the Whitesands missle range. lol
 
David Mullen ASC said:
You can see an Arri-435 I think on the remote crane in another shot.

Yes, that's a Panaflex, probably a Millenium judging by the little cut in the body near the base. I can't tell if it's an anamorphic or spherical lens though, but it looks too small to be an anamorphic lenses, though there are a few that are that small. Probably means he's shooting in Super-35 though.
Click to expand...

I remember hearing that Douglas Slocombe never used a light meter on Raiders... everyone has their own unique traits and I can't wait to see what Janusz Kaminski brings to the production. I had the pleasure of working with him on "The Terminal" - man, what a crazy cat!
 
Yup, Slocombe used light meters very little. He used to say that a Cinematographer just moves the meter around until he gets the reading he wants anyway. Which always made me laugh. I'm sure a few DPs would disagree.

But Slocombe definitely understood how to read light levels to the naked eye.

However, am I the only one who noticed a distinct lighting change with Last Crusade? I wonder if Slocombe's problems with cataracts and the fact that he was starting to go blind effected his work on Crusade. Many, many scenes appear very over-exposed and way over-lit.
 
Respect in any ways for Slocombe's lifetime achievement, but this:
Robert Sanders said:
However, am I the only one who noticed a distinct lighting change with Last Crusade? I wonder if Slocombe's problems with cataracts and the fact that he was starting to go blind effected his work on Crusade. Many, many scenes appear very over-exposed and way over-lit.
Click to expand...
is why me and my brother always stick to the meter. In hectic moments or generally during work you get distracted and produce a subjective way of observing your scene. The lightmeter, in my opinion and judgement, is somthing like a "calibration device" for your eyes, you get to know where you are standing and where you may end or like to end with the current lighting.
 
Casey Green said:
I remember hearing that Douglas Slocombe never used a light meter on Raiders... everyone has their own unique traits and I can't wait to see what Janusz Kaminski brings to the production. I had the pleasure of working with him on "The Terminal" - man, what a crazy cat!
Click to expand...

Isn't that Frank Marshall standing next to George Lucas in the picture? Hard to tell.
 
David Mullen ASC said:
Isn't that Frank Marshall standing next to George Lucas in the picture? Hard to tell.
Click to expand...

Yes, it's hard to tell with the hat and glasses, but I think you're right... I've updated the picture to a better one. :)
 
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