geolarson2
09-13-2008, 11:29 PM
While I was jotting down my thoughts for the "Who'd you like to see ...?" thread, my attention kept moving up to the top of the page (Gee, I wonder why ...?) and it occurred to me, what is it that makes a good scene in an FTV movie? What are the scenes that interest me the most, and why? So I thought I'd throw it out there for everyone else, because I'm sure I'm not the only one whose sat watching a clip or ogling a photo wishing I was Rob or one of his assistants.
I know nothing about video production, and while Rob said he wasn't too familiar with it, I think he's done a fantastic job. Practice, as they say, makes perfect. I do know a little more about still photography, although I am rusty and the technology has run so far and so fast in front of me. I still shoot with a 35mm SLR, but at least a couple years back I switched up from a manual Minolta X-370 to a Canon with autofocus. Heck, I began with an old Kodak rangefinder with a hand-held light metre and a flash with a round reflector. Next year, perhaps, I'll save up and get myself a decent digital SLR.
So what do I like about Rob's photography and cinematography? First, I find the use of natural light without fill flash to be amazing. Way back when, I turned a blind eye to fill flash and wound up with some photos that were unusable, or at least not as good as they might have been. No matter how many times or how long you look, the camera sees more than the eye, especially when looking through the eyepiece. That's a gutsy move on his part, and one which pays off because it keeps that sense of intimacy he shares with the model, and which is then shared with us. It also keeps the colours vivid, whether you go back and look at the 35mm work he did in 2002 or the new work he's done with his very, very nice Nikon digital. In other words, he keeps the scene comfy and relatively casual for the woman (or women), even when they're flashing in public or laying on the bed he keeps handy, and by not flooding the room with so many artificial lights, he's kept the colours the way we'd see them, as if we were in the room, too. I dig that, big time.
For me, I love the sense of adventure the women exude when out in public or in that garage flashing or stripping down. That's a lot of courage they're showing--more than their skin. But as much as I like those scenes, I think the ones I like best are set in the bedroom, which brings me back to the image of Danielle at the top of the page. She is so gorgeous, content and just simply sexy without trying to be, and so now that I've been able to download those first scenes of hers and view them (I'm using Gom Player right now--it seems to run smoother than my Windows Media Player; I'm going to try them out on PowerDVD later, to see which has the best resolution) I am simply impressed. I always love those quiet moment scenes of simple domesticity, and this has it in spades. Beautiful job you two. Bravo! Bravissimo! Encore! More, please? Other ideas, compliments you wish to extend, &c. ...
I know nothing about video production, and while Rob said he wasn't too familiar with it, I think he's done a fantastic job. Practice, as they say, makes perfect. I do know a little more about still photography, although I am rusty and the technology has run so far and so fast in front of me. I still shoot with a 35mm SLR, but at least a couple years back I switched up from a manual Minolta X-370 to a Canon with autofocus. Heck, I began with an old Kodak rangefinder with a hand-held light metre and a flash with a round reflector. Next year, perhaps, I'll save up and get myself a decent digital SLR.
So what do I like about Rob's photography and cinematography? First, I find the use of natural light without fill flash to be amazing. Way back when, I turned a blind eye to fill flash and wound up with some photos that were unusable, or at least not as good as they might have been. No matter how many times or how long you look, the camera sees more than the eye, especially when looking through the eyepiece. That's a gutsy move on his part, and one which pays off because it keeps that sense of intimacy he shares with the model, and which is then shared with us. It also keeps the colours vivid, whether you go back and look at the 35mm work he did in 2002 or the new work he's done with his very, very nice Nikon digital. In other words, he keeps the scene comfy and relatively casual for the woman (or women), even when they're flashing in public or laying on the bed he keeps handy, and by not flooding the room with so many artificial lights, he's kept the colours the way we'd see them, as if we were in the room, too. I dig that, big time.
For me, I love the sense of adventure the women exude when out in public or in that garage flashing or stripping down. That's a lot of courage they're showing--more than their skin. But as much as I like those scenes, I think the ones I like best are set in the bedroom, which brings me back to the image of Danielle at the top of the page. She is so gorgeous, content and just simply sexy without trying to be, and so now that I've been able to download those first scenes of hers and view them (I'm using Gom Player right now--it seems to run smoother than my Windows Media Player; I'm going to try them out on PowerDVD later, to see which has the best resolution) I am simply impressed. I always love those quiet moment scenes of simple domesticity, and this has it in spades. Beautiful job you two. Bravo! Bravissimo! Encore! More, please? Other ideas, compliments you wish to extend, &c. ...