my flatmate has one and uses it daily for his documentary.
He only uses my Sigma Art 18-35 1.8 when its in a tripod and a control environment (film shooting, interview, music video) but for performances, live shows, run n gun style, he uses his old Voigtlander lenses for Leica M, which are sharp, relatively cheap and SMALL
Voigtlander Nokton 1.4 (40mm or 50mm)
Voigtlander Color-Skopar 21mm f/4.0
cant believe they forgot Studio 28 (cinema)
a small art film cinema opened in 1928, with the fixtures and interior created by jean cocteau.
So I have watched Interstellar at the BFI IMAX in 70mm 15 perf.
The change of aspect ratio was a bit distracting, going from 2:35 to 4:3 wasnt the most immersive experience.
I also felt like the Imax shots were WAY sharper than the rest, lots of my friend noticed that blurriness/out of focus thing with key shots, dont know if it was because of the projection or intentional from Nolan.
All these aside, the film was amazing, I haven't seen a film/fiction that dealt so well with the issues of time relativity since Gunbuster.(1989). and some scene were really good at pulling tears out of your eyes.
The Photographer's eye by Michael Freeman.
also encompassing visual language as a whole:
The Elements of Color
Design and Form
by Johannes Itten (Former professor at The Bauhaus school)
because roy anderson shoot only in sets. thats his thing.
great article, I'm writing my own scripts for my short films. And being from more a graphic design background, it feels a bit hard sometimes to write without the knowledge of the form and substance. after reading story by robert mckee, the hero with a thousand faces, poetics, the unconscious collective by Jung. I found even more lost than before. so far, the only book that shed a bit of light in character creation is Lajos Egri - The art of dramatic writing, its a good insight in Human motives.