Charles Haine is currently a professor at the Feirstein Graduate School of Cinema.
Since completing his MFA at USC in 2005, Haine has balanced work as a director and an educator. He founded the Academy Award nominated production company Dirty Robber in 2008.
He directed the Feature Film Angels Perch starring Joyce Van Patten and released in 2013. Among Haine's other directing highlights are: a music video for Fitz and the Tantrums "Don't Gotta Work It Out," which featured on Pop Up Video); fashion advertisements for Fais Do Do and Emory K Holiday; and countless book trailers for Simon & Schuster, Penguin, Quirk and many others—including the trailer for Chuck Klosterman’s novel The Visible Man.
Definitely NOT user-swappable. Voids the warranty. I just wish they were. Right now they seem to be about half the price of CP.2's, which is a great pricepoint.
It's crazy, right?
I will say: if you shoot your whole project with the glass, it isn't as noticeable, it just really jumps out at you when you intercut footage from the square-fronts with modern glass.
It happens more often then you might think: investors always hope for name cast to help with box office or home video sales, and that pressure is even higher if the director is a first timer.
The best bet to attracting a name cast to your project is the combination of a great script and a way to get it to them. With actors who have slowed down in their career, you can generally go through an agent, but while an actor is hot they are getting lots of offers and won't really consider an offer from an unknown. But if you have met them in person somehow (at a festival, for instance), or are working with a more experienced producer, there's a good chance you can get the script read.
The key, as always, is great material: you see first time directors with name cast all the time, and it's usually a good script that does it.
Well, considering that many of those adapters come with shims in case they shift over time, I could imagine wanting to avoid the adapters if you were 100% E-mount focused and never thought you might use the PL mount.
Good catch! We fixed it.
Yeah, the NASA/Zeiss thing and the discussion of why the BNC had to be modified were the bigger errors I was interested in correcting, the "old" thing was more an excuse to talk about Ed Di Giulio, who is kind of a forgotten bad-ass.
Didn't know that about X-ray glass being super wide-aperture, but it makes sense: you wouldn't want to shoot more X-rays through someone than you have to, so wide-aperture would be useful. Wonder what the optical quality is like: X-ray is monochromatic, so chromatic aberation wouldn't be corrected for in the design.
Personally, now that we're in a digital era, I'm waiting for more .7 lenses to come out again: a man can dream.