text:
package org.apache.tomcat.util.bcel.classfile;

import java.io.BufferedInputStream;
import java.io.DataInputStream;
import java.io.FileInputStream;
import java.io.IOException;
import java.io.InputStream;
import java.util.zip.ZipEntry;
import java.util.zip.ZipFile;

import org.apache.tomcat.util.bcel.Constants;

/**
 * Wrapper class that parses a given Java .class file. The method parse returns a
 * JavaClass object on success. When an I/O error or an
 * inconsistency occurs an appropiate exception is propagated back to
 * the caller.
 *
 * The structure and the names comply, except for a few conveniences,
 * exactly with the
 * JVM specification 1.0. See this paper for
 * further details about the structure of a bytecode file.
 *
 * @version $Id: ClassParser.java 992409 2010-09-03 18:35:59Z markt $
 * @author M. Dahm
 */
public final class ClassParser {

    private DataInputStream file;
    private boolean fileOwned;
    private String file_name;
    private String zip_file;
    private int class_name_index, superclass_name_index;
    private int major, minor; // Compiler version
    private int access_flags; // Access rights of parsed class
    private int[] interfaces; // Names of implemented interfaces
    private ConstantPool constant_pool; // collection of constants
    private Field[] fields; // class fields, i.e., its variables
    private Method[] methods; // methods defined in the class
    private Attribute[] attributes; // attributes defined in the class
    private boolean is_zip; // Loaded from zip file
    private static final int BUFSIZE = 8192;

    /**
     * Parse class from the given stream.
     *
     * @param file Input stream
     * @param file_name File name
     */
    public ClassParser(InputStream file, String file_name) {
        this.file_name = file_name;
        fileOwned = false;
        String clazz = file.getClass().getName(); // Not a very clean solution ...
        is_zip = clazz.startsWith("java.util.zip.") || clazz.startsWith("java.util.jar.");
        if (file instanceof DataInputStream) {
            this.file = (DataInputStream) file;
        } else {
            this.file = new DataInputStream(new BufferedInputStream(file, BUFSIZE));
        }
    }

    /**
     * Parse the given Java class file and return an object that represents
     * the contained data, i.e., constants, methods, fields and commands.
     * A ClassFormatException is raised, if the file is not a valid
     * .class file. (This does not include verification of the byte code as it
     * is performed by the java interpreter).
     *
     * @return Class object representing the parsed class file
     * @throws  IOException
     * @throws  ClassFormatException
     */
    public JavaClass parse() throws IOException, ClassFormatException {
        ZipFile zip = null;
        try {
            if (fileOwned) {
                if (is_zip) {
                    zip = new ZipFile(zip_file);
                    ZipEntry entry = zip.getEntry(file_name);

                    if (entry == null) {
                        throw new IOException("File " + file_name + " not found");
                    }

                    file = new DataInputStream(new BufferedInputStream(zip.getInputStream(entry),
                            BUFSIZE));
                } else {
                    file = new DataInputStream(new BufferedInputStream(new FileInputStream(
                            file_name), BUFSIZE));
                }
            }
            /****************** Read headers ********************************/
            // Check magic tag of class file
            readID();
            // Get compiler version
            readVersion();
            /****************** Read constant pool and related **************/
            // Read constant pool entries
            readConstantPool();
            // Get class information
            readClassInfo();
            // Get interface information, i.e., implemented interfaces
            readInterfaces();
            /****************** Read class fields and methods ***************/
            // Read class fields, i.e., the variables of the class
            readFields();
            // Read class methods, i.e., the functions in the class
            readMethods();
            // Read class attributes
            readAttributes();
            // Check for unknown variables
            //Unknown[] u = Unknown.getUnknownAttributes();
            //for(int i=0; i  0) {
            //        int bytes = file.available();
            //        byte[] buf = new byte[bytes];
            //        file.read(buf);
            //        if(!(is_zip && (buf.length == 1))) {
            //          System.err.println("WARNING: Trailing garbage at end of " + file_name);
            //          System.err.println(bytes + " extra bytes: " + Utility.toHexString(buf));
            //        }
            //      }
        } finally {
            // Read everything of interest, so close the file
            if (fileOwned) {
                try {
                    if (file != null) {
                        file.close();
                    }
                    if (zip != null) {
                        zip.close();
                    }
                } catch (IOException ioe) {
                    //ignore close exceptions
                }
            }
        }
        // Return the information we have gathered in a new object
        return new JavaClass(class_name_index, superclass_name_index, file_name, major, minor,
                access_flags, constant_pool, interfaces, fields, methods, attributes);
    }

    /**
     * Read information about the attributes of the class.
     * @throws  IOException
     * @throws  ClassFormatException
     */
    private final void readAttributes() throws IOException, ClassFormatException {
        int attributes_count;
        attributes_count = file.readUnsignedShort();
        attributes = new Attribute[attributes_count];
        for (int i = 0; i < attributes_count; i++) {
            attributes[i] = Attribute.readAttribute(file, constant_pool);
        }
    }

    /**
     * Read information about the class and its super class.
     * @throws  IOException
     * @throws  ClassFormatException
     */
    private final void readClassInfo() throws IOException, ClassFormatException {
        access_flags = file.readUnsignedShort();
        /* Interfaces are implicitely abstract, the flag should be set
         * according to the JVM specification.
         */
        if ((access_flags & Constants.ACC_INTERFACE) != 0) {
            access_flags |= Constants.ACC_ABSTRACT;
        }
        if (((access_flags & Constants.ACC_ABSTRACT) != 0)
                && ((access_flags & Constants.ACC_FINAL) != 0)) {
            throw new ClassFormatException("Class " + file_name + " can't be both final and abstract");
        }
        class_name_index = file.readUnsignedShort();
        superclass_name_index = file.readUnsignedShort();
    }

    /**
     * Read constant pool entries.
     * @throws  IOException
     * @throws  ClassFormatException
     */
    private final void readConstantPool() throws IOException, ClassFormatException {
        constant_pool = new ConstantPool(file);
    }

    /**
     * Read information about the fields of the class, i.e., its variables.
     * @throws  IOException
     * @throws  ClassFormatException
     */
    private final void readFields() throws IOException, ClassFormatException {
        int fields_count;
        fields_count = file.readUnsignedShort();
        fields = new Field[fields_count];
        for (int i = 0; i < fields_count; i++) {
            fields[i] = new Field(file, constant_pool);
        }
    }

    /******************** Private utility methods **********************/
    /**
     * Check whether the header of the file is ok.
     * Of course, this has to be the first action on successive file reads.
     * @throws  IOException
     * @throws  ClassFormatException
     */
    private final void readID() throws IOException, ClassFormatException {
        int magic = 0xCAFEBABE;
        if (file.readInt() != magic) {
            throw new ClassFormatException(file_name + " is not a Java .class file");
        }
    }

    /**
     * Read information about the interfaces implemented by this class.
     * @throws  IOException
     * @throws  ClassFormatException
     */
    private final void readInterfaces() throws IOException, ClassFormatException {
        int interfaces_count;
        interfaces_count = file.readUnsignedShort();
        interfaces = new int[interfaces_count];
        for (int i = 0; i < interfaces_count; i++) {
            interfaces[i] = file.readUnsignedShort();
        }
    }

    /**
     * Read information about the methods of the class.
     * @throws  IOException
     * @throws  ClassFormatException
     */
    private final void readMethods() throws IOException, ClassFormatException {
        int methods_count;
        methods_count = file.readUnsignedShort();
        methods = new Method[methods_count];
        for (int i = 0; i < methods_count; i++) {
            methods[i] = new Method(file, constant_pool);
        }
    }

    /**
     * Read major and minor version of compiler which created the file.
     * @throws  IOException
     * @throws  ClassFormatException
     */
    private final void readVersion() throws IOException, ClassFormatException {
        minor = file.readUnsignedShort();
        major = file.readUnsignedShort();
    }
}


The building was last renovated in 2007 and it's in a good condition. There are 21 rooms without a kitchen available.
The economy rooms are located on the ground floor and have no terrace, therefore their price is lower. The first room has one double bed, other three have two single beds, while the fifth room is slightly larger and it has one double and a single bed. The rooms have a small fridge and a shower in the bathroom. In each of the five rooms, it's possible to insert an extra drawer bed, but this will reduce the free space. These rooms are suitable for accommodating (on request) persons with disabilities.
The remaining rooms are set on the first and the second floor and they have a terrace. Double rooms have one double or two single beds and there's only one triple room with one double and a single bed. The rooms are air-conditioned, have a TV, small fridge, hairdryer, shower cabin and a safe deposit box, and if necessary, a drawer can be added. Some rooms have a direct or a side sea view, while some overlook the street and the mountain.
Cleaning and replacing towels is performed every day while bed linen is replaced every third day.
Private parking is not available, so guests can park their vehicles in nearby streets or on a charged public parking (at 100m from accommodation).
The hotel offers a bed and breakfast (buffet) service and includes a bar and a small courtyard. Laundry is available and additionally charged. The reception is open from 7-23h.
The nearest grocery store is located nearby, while Lidl is about 1km away. A playground for children is at about 100m from the hotel.
If you're looking for quality accommodation in an ideal location, close to the beach and promenade full of diverse amenities, Iraklitsa Beach Hotel is an excellent choice for you.
You can find out more about Nea Iraklitsa in our Tourist guide to Kavala.
Hotel Iraklitsa Beach is located at an ideal position at the entrance of the village of Iraklitsa. Within 50 meters of a clean sandy beach with free umbrellas and sunbeds and the cosmopolitan pedestrian, with fantastic fish restaurants, grill houses and luxury cafes with pizza and their famous donuts, where you enjoy lunch or coffee right next to the sea.
For the youth who enjoy music and sports, there are beach bars nearby where you can play beach volley, rackets etc and water sports (windsurfing, jet ski, snorkelling etc).
The hotel offers a Greek breakfast buffet, cafe and bar. Rooms have large balconies, bathroom, direct dial phone, digital TV, fridge, WiFi internet connection and comfortable furnishing. At Hotel Iraklitsa Beach you will enjoy your vacation in a warm, welcoming environment with quality service.
Prices are per room per night on room only or bed and breakfast basis (BB). Air conditioner usage is included in the price. There are no fixed dates. You can choose the dates of arrival and departure. Send us an email to see if there is any discount for periods longer than two weeks.
Overnight stay tax is not included in prices.
Minimum stay is four nights.
It is possible to book only seven and 10 nights as well.
Overnight stay tax is 0,50e per room per night.
Breakfast is charged 7e per day per person.
Deposit of 30% of total price of the reservation is required to confirm a booking. The remaining balance will be paid first day upon arrival. If the guests arrive after the arrival date or leave before the departure date, the property owner keeps the right to charge the total price of the reservation. If cancelled up to 21 days before the date of arrival, a deposit will be refunded, less 35e administrative fee. If cancelled later, or in case of no-show, a deposit will not be refunded.
There are no reviews for this accommodation yet.
In these comments it is best to ask the questions regarding accommodation description, rooms, location etc. And for the things like arrival and departure dates, number of guests etc. it's best to contact us via email nikana@nikana.gr. Also, we will answer to your comments via email so please check your inbox.
Hi,there! Can you send me your offer for two bedrooms apartment. Check in 06/09, check out 09/09. We're three adults and edge 11 kid. Thanks!
Hi, I'd like to ask you for your best price offer for 9 nights in a 2 -room apartment between 24/08 and 02/09. We are a family with two kids (3 and 10 year old). Thank you!
Pogled na more se ne vidi ni na jednoj slici..
Contact us! Our team is available every day, ready to help you with all concerns regarding accommodation or destination for your perfect summer vacation!
More than 1000 properties in Thassos and Halkidiki.
Our services are completely free for you.
Our experience and life in Greece ensures that in communication with us you choose just the right accommodation for you.
Our website specializes in direct accommodation booking in Greece, and is a comprehensive virtual guide through the best destinations on Thassos and Halkidiki.


I am on my way to take a challenge on a Vegetarian diet for a week. Friends who know me will agree that it is impossible for me avoid meat!!
So i am trying to experiment new recipes in vegetarian so that i don't miss meat and I really enjoy vegetarian food. This Peanut dip is a part of that experiment.
One of my favorite lunch 2 years back in UK was Carrot and cucumber Sticks with Hummus. But I often forget to soak the Chickpeas the before day (who doesn't!! don't judge me Plsss!!!) and my lunch plan would be ruined.
Then I discovered this dip which can be made instantly or can be made for a whole week and stored in fridge and it tastes the same till the last lick!!
I haven't included step by step pictures as this process is simple and I just mixed everything. That is it!
Mix the Peanut butter,Fresh cream,soy Sauce,chilli sauce and salt.
** Sweetened Peanut butter can also be used. I got my unsweetened PB here.
*** Red chilli sauce can also be used when sweetened PB is used.
I have this dip with Cucumber and carrot sticks.
This is the dish which i love but my mom will not cook because she feels that it sounds disgusting . but I am a sucker of good food..If you want to be friends with me serve me some good food.. I will be loyal to you.. Being in keto or a low carb diet there is a constant urge of trying out new stuffs as you can eat so many foods in this diet. Happy soul i am..
Okay,,, Lets see the process to make this yummy dish.
Heat oil in a pan, add mustard seeds and let them splutter.
Add finely chopped onions and saute till they are transparent.
Add the brain pieces and let it fry with onions. Don't stir often and as they will break.
After stirring gently for 5 minutes add the powders , simmer the flame and let the meat cook.
Once the masalas re cooked add pepper powder and stir in gently for a minute.
Turn off the stove and garnish with coriander.
Stay healthy inside and outside..
I made chia meal by grinding the chia seeds in a mixer.
Added in crushed almonds and crushed peanuts.
Added desi jaggery Can be replaced by stevia or coconut sugar also.
Added 2 tbsps of ghee.
Mixed everything and made in to balls.
**Note - I had bought flax meal. But that can be made by grinding Flax seeds.
If making these for kids, I would reduce the Flax meal and chia meal and increase the nuts , add dates for extra sweetness.
Please do try and let me know your comments..
Stay healthy inside and outside.


text:
How Dell's Recruitment Marketing strategy Is Helping Achieve 40% Women Leadership by 2030
by Bethany Mason
Written by	Bethany Mason
Rally Award winner Dell Technologies is working to have 40% of their leadership to be people who identify as women by 2030. Bethany Mason, their Director of Global Employer Brand Strategy, explains the 4 steps they're taking in their Recruitment Marketing strategy to meet this goal.
At Dell Technologies, we've publicly announced that by 2030, we want 50% of our global workforce and 40% of our global leaders to be those who identify as women.
As the Director of Global Employer Brand Strategy at Dell, where I oversee everything from strategy, operations, and creative I'm thrilled to share with you today the four steps we're taking to meet these goals, which include:
Supporting our goals through programs, and highlighting this in our Recruitment Marketing
Collaborating internally to find powerful women storytellers
Showing employee experience through video stories
Measuring progress towards diversity and inclusion goals
The goals we want to accomplish in the next 8 years may sound ambitious, but in hearing our methodical approach, I hope you'll be inspired and gain an understanding of how to support similarly ambitious diversity and inclusion goals of your own! Today I want to share how our Recruitment Marketing strategy is part of making these goals a reality.
Support your goals through your programs
As a first step, we started sharing information and stories of the programs supporting women in technical positions and leadership roles, all part of what we call "Women at Dell." This was important to do first because, if there is a disconnect between the progress you're saying you want to make and what your company is set up to accomplish, candidates will see that immediately.
For example, programs like Dell Career ReStart provide career opportunities to women who are looking to rejoin the workforce after time away. This has been a great way to share that there are exciting career opportunities for those who may have stepped away to care for an aging parent, grow their families or serve in the military – tapping into a candidate pool that can help us close the technology talent gap of 4.3 million by 2030.
For all the ways in which we support and empower women at Dell, check out our Women at Dell career page.
Collaborate internally to find powerful women storytellers
With these programs in place, it's our employees who we ultimately rely on to showcase the supportive environment we've created. For example, for our main Women at Dell header video, we worked with Dell's talent attraction marketing team to arrange interviews with women across all of the regions we operate in.
Working with the talent attraction marketing department made these introductions especially easy. With a lead in every region, the team helped identify women team members with powerful stories to share, as well as connect those team members with my team to get the ball rolling.
We also sent out a call for participants to our 13 employee resource groups, which are made up of 54,000 team members across 74 countries. In the end, we scheduled, prepared and interviewed 44 storytellers, which uncovered hundreds of stories illustrating Dell's values and employee experiences.
Show your employee experience through video stories
Out of the 44 storytellers interviewed, we narrowed down the final video to feature the voices and stories of 12 women. Spread across 9 Dell offices worldwide, these women were chosen for a couple of reasons.
The featured video on our Women at Dell careers page.
For one, they were excellent storytellers. But more importantly, they best captured what it was like to work at Dell from a variety of different regions, backgrounds, ethnicities and cultures. Their diverse stories allow women candidates to easily imagine what their own experience at the company might be like and encourages more applications as a result.
After packaging up these 12 stories into a single video, we launched it on International Women's Day for maximum effect. The video has generated 182,00 views and 800 engagements across our careers page and socials to date, and we're confident it played a role in increasing the number of women candidates we saw applying to roles at Dell. We were also thrilled to be recognized for our efforts with the Rally Award for Best Use of Video in Recruitment Marketing!
Even after the launch, we continue to feature this video across our various channels as one of our premier recruitment marketing content pieces.
Measure progress towards diversity and inclusion goals like any other business goals
The final component of our plan is measurement, as a lack of measurement is something that often gets in the way of companies making real progress in the area of diversity and inclusion. That's why we treat diversity and inclusion like any other business venture, complete with data, moonshot goals and systems in place to track progress.
For example, we release our Annual Progress Made Real and D&I Reports which outline holistically what Dell is doing to make progress towards our goals, including those related to women representation.
A clear snapshot of the progress we made towards our women-focused goals in 2021.
These reports detail our goals, year-over-year progress, methodology and other information necessary in understanding if we're on the right track — and keeping us accountable to the public. It shows us how we're making progress, and also where we have more work to do.
With setting our goal to have 50% of our global workforce and 40% of our global leaders identify as women, it's not just about reaching that number. We continue driving an inclusive culture to support women long-term at Dell, and we understand creating an inclusive culture is essential to support a positive employee experience.
By exposing more women to the employee experience they can expect at Dell, as well as the goals and programs we have in place supporting diversity and inclusion, we're confident that it contributed to the growth we saw in 2021.
If I were to choose one primary driver behind the progress we've made towards our goals so far, it's authenticity. We're proud of our programs and know that Dell is an amazing place to work for all; we just need to empower our employees and recruiters to show new talent why that's the case through story-driven content.
To learn how more companies are leveraging video in Recruitment Marketing to great effect, be sure to read Great Recruitment Marketing Videos: 4 Winning Examples to Elevate Your Strategy!
Bethany Mason
Bethany Mason is Global Leader - Strategy, Operations & Creative - Employer Brand Marketing at Dell Technologies where she leads the strategy and drives operations for the Employer Brand team.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How to calculate using a POST variable? I need to multiply this POST variable by 12.  As an example, if the amount was 10, the result should say:
Amount: 120

Here's my code so far:
Amount :'.$_POST['my_amount'].'

I tried to run the calculation in another variable, but this doesn't seem to work:
$result = ($_POST['my_amount'])*12;

or maybe it works and my output code is not working:
 $vl_text='';
        Amount :'.$_POST['my_amount'].'
'.;

A: If you want your output to resemble your first example.,..   Amount:120 your missing chunks in each of the following 3 examples. first ensure that your $_POST variable is a valid one and set it to a new variable so you can print out the variable if you need to ...
// if you only expect $_POST['my_amount'] to contain integers...

if(is_int(intval($_POST['my_amount']))){
    $my_amount = intval($_POST['my_amount']) * 12;

// or if you expect $_POST['my_amount'] to possibly contain a decimal

if(is_float(floatval($_POST['my_amount']))){
    $my_amount = floatval($_POST['my_amount']) * 12;

intval ensures that a variable is cast as an integer if it can be, while not entirely necessary as multiplying in php will do this...its good practice to check any variables that you are using for and math functionality.
floatval does the same for for numbers with decimal. as an integer has to be a whole number if your variable could numbers that could contain decimals... use floatval
all of your examples then need to specify to print/echo the string....so
// your second line
echo 'Amount :'.$my_amount .'
';
// your fourth line...
$vl_text='Amount: '.$my_amount;
echo $vl_text;
}

A: The most logical explanation is that you get string from POST. A good way to achieve what you want is to convert the POST value to int but keep in mind that it could not be numerical.
$int = (is_numeric($_POST['my_amount']) ? (int)$_POST['my_amount'] : 0); //If POST value is numeric then convert to int. If it's not numeric then convert it to 0

A: $_POST['my_amount'] = 150;
$data = $_POST['my_amount'] * 12;
echo $data;

Result will be 1800

redpajama_set_name: RedPajamaStackExchange


text:
Q: Why is one "sent to Coventry"? I was reading in the paper today of some hapless wight who had been sent to Coventry (meaning ostracised and given the silent treatment) by his colleages. It then occurred to me to wonder why Coventry should have been chosen for this idiom.
Phrases suggests:-

The story - and it is no more than that - is that Cromwell sent a
  group of Royalist soldiers to be imprisoned in Coventry, around 1648.
  The locals, who were parliamentary supporters, shunned them and
  refused to consort with them.

Michael Quinion also notes:-

Another story, undated but usually taken to refer to events of a
  similar period, is that Coventry was strongly opposed to having troops
  billeted on townspeople, and that soldiers sent there were ostracised
  by the local population.

but he remarks that

My own feeling is that neither is convincing, not least because of the
  century-long gap between Civil War events and the first appearance of
  the idiom

As neither of thes two things were peculiar to Coventry, I'm also inclined to doubt. Can anyone shed any light on the matter?

A: OED has a note

[The origin of the phrase has been the subject of numerous ingenious conjectures: see Brewer, Phrase and Fable, etc. A probable suggestion refers it to the circumstances recorded in quot. 1703; a less likely source has been suggested in quot. a1691.]

So they don't know the origin. The citations are:

[a1691   Baxter in Reliq. Baxt. i. i. (1696) 44   Thus when I was at Coventry the Religious part of my Neighbours at Kidderminster that would fain have lived quietly at home, were forced..to be gone, and to Coventry they came.
  1703   Clarendon's Hist. Rebellion II. vi. 36   At Bromicham, a Town so generally wicked, that it had risen upon small parties of the Kings, and kill'd, or taken them Prisoners, and sent them to Coventry [then strongly held for the Parliament].]

Both quotations relate a physical sending to Coventry: in the first by driving out from Kidderminster (around 35 miles away); in the second by deporting prisoners there (also around 35 miles, if the place is now West Bromwich). They favour the second, which mirrors what you found in phrases.org.


At the Cathedral Church of Boston and New England, on Sunday January 19/February 1, was celebrated the Divine Liturgy on the Feast of its patron Saint, Saint Mark Evgenikos of Ephesus. His Eminence Demetrius of America concelebrated the hierarchical Liturgy with His Eminence Moses of Toronto. Many faithful and clergy from New England and New York came to celebrate the feast of the great defender of Orthodoxy. During his sermon on the Publican and Pharisee, His Eminence warned about the dangers of zeal without knowledge which sometimes leads to deception and heresy, and stressed to all the faithful the importance of humility and to follow the example of the publican.


text:
Videoteca de Head Start: Servicios de transición
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(En inglés)
Head Start Program Performance Standards:
Kiersten Beigel: Welcome, thanks for joining us. My name is Kiersten Beigel.
Sarah Merill: And I'm Sarah Merrill, and today we'll be talking about transition services.
Kiersten: So that's Subpart G in the program operations section of the Head Start Program Performance Standards. It really focuses predominately on how we support families and children as they transition from different program settings and early learning environments. There are a couple of places in the Head Start Performance Standards where you might find other transition language. Today we're going to talk with you a little bit about Subpart G and we want to break down the three sections that make up Subpart G and give you a little bit of an overview and Sarah's gonna get us started.
Sarah: Absolutely. So as Kiersten mentioned, there are three pieces, subparts, in this section. 1302.70 speaks about transitions out of Early Head Start, 1302.71 speaks about transitions from Head Start into Kindergarten, and 1302.72 speaks about transitions between programs. A couple of overarching themes that I think are important to raise is that the rationale behind this is that when families engage in activities prior to a new school setting, it has a stronger link with school success for children. The majority of the regulations in these three subsections or subparts are not going to be new. Rather they're organized for clarity and to provide sort of a one stop shop for these. There's a still a focus on ensuring that families are really engaged about knowing about their child's developmental and learning progression, supports for children who are on individualized education plans or individualized family services plan, and children and family who are dual language learners.
Kiersten: So let's start with 1302.70 and that is a section that really focuses on programs as they support children and families who are leaving Early Head Start, completing Early Head Start. We know that continuity of care is a really important element of these standards and that children need to have a sort of continuity across birth to five wherever we can help it. We want to ensure that families with very young children are not having disruptions or too many transitions. This section also helps kind of programs ... It gives programs ideas about what they should be focusing on in the Early Head Start transition so for example, thinking about the timing of the transition, thinking about how they collaborate with families, and then also how they can collaborate with Head Start programs to ensure that wherever possible families with very young children are able to move into a Head Start program.
And a bit about timing in this section, there are standards here that are not new but that do allow for some flexibility. So the first thing is that programs need to be thinking about that transition for the child six months before their third birthday. And then a second kind of timing piece in this has to do with when children turn three, making it fairly flexible. Again not new, but that children can stay in the programs for a limited number of additional months. Again, in order to support continuity and taking into account family circumstances, child development, and the availability of other opportunities and options for children in the community. So that's 1302.70, Early Head Start to the next step.
Sarah: An I'll take it from there. 1302.71 speaks about the transition from Head Start into the local school or the Kindergarten setting and we know Head Start programs have been supporting this transition for many of years. We've been engaging in families in local school districts to set up activities and collaborating and sharing pertinent information to support that transition. I think what might be new for programs to think about in these standards are for programs who don't operate summer programming, to work with their local school districts to determine availability of some summer options that allow for that smoother transition between Head Start and the school and that really allows for local communities to think about continuity of learning and continuity of services for the children who most need it. Obviously programs are to implement strategies and activities that best prepare their Head Start children for entering school and supporting the parents and exercising their rights and their responsibilities to keep advocating and supporting their children when they enter the school, the elementary setting. Program staff communicate with their counterparts in the school districts to make sure pertinent information is transitioned up so that that continuity of learning can continue. As you notice, continuity is a thread throughout these subsections.
Kiersten: Yeah. 1302.72 is about continuity also and it really relates to families who are moving or transitioning into other early learning environments so there are three provisions here, all which are new. The first one is really to support families who are transitioning, well they may be leaving the community per se, so they're leaving the program for various reasons and so the program is required to help that family locate Early Head Start or Head Start or another early learning program as the case may be to support the continuity for the child and family and you had asked us to, in the public comment period, to make sure to explicitly mention children experiencing homelessness and children who are involved in the foster care system in this particular section given the vulnerability for these particular children, so we added that. The second area here has to do with families who are leaving the Head Start program prior to kindergarten and requiring that programs help these families locate other early childhood services and also consider some of those activities as sort of family engagement opportunities with parents and the school or the place that the child may be attending next. As was the case with what Sarah was mentioned previously in 1302.71. And then lastly, the third provision that's new is to pay particular attention to our migrant and seasonal Head Start children and families as they leave the community and move for work or other reasons, to really look for opportunities to link them to other Early Head Start, Head Start programs and other migrant seasonal Head Start programs. So that's 1302.72.
Sarah: Well thanks for joining us. We have just completed our rapid tour of our three subparts or subsections within Subpart G, transition services. Before you leave us today, we recommend that you check in with the Early Childhood Learning and Knowledge Center or the ECLKC. You'll find some tools and strategies to help you think about your approach to transition services and most importantly we just wanted take this opportunity to thank you for everything you do for the children and families in your local communities.
Vea cómo Kiersten Beigel y Sarah Merrill se centran en las normas que se aplican a cómo Head Start apoya a las familias y a los niños en la transición hacia y desde diferentes ambientes del programa y entornos en la primera infancia (video en inglés).
Tema:Política
Palabras clave:Normas de desempeño
National Centers: Oficina Nacional de Head Start
Series: Transmisión vía web sobre las HSPPS
Última actualización: March 27, 2019


"Mommy, can I get a bikini?" my daughter asked in a hushed voice, her eyes hopeful.
Her swimsuit was tattered and torn and she was definitely in need of a new one. And her question came as no surprise to me as she has recently gained an interest in bikinis after seeing one of her favorite children's characters wearing one in a book.
I've asked myself this question too. But why don't I want her to wear a bikini?
I've wondered on more than one occasion. There is nothing inherently wrong with a young girl wearing a bikini. In fact, I see girls my daughter's age wearing bikinis all the time and they look pretty darn cute. Yet, I still can't get on board with the trend.
There are plenty of arguments out there as to why it is or isn't okay for young girls to wear bikinis. Some argue wearing a bikini sexualizes them. Others think that refusing to let them wear one will have a negative impact on their body image, that it causes a sense of shame.
And while I can understand the reasoning behind the various arguments, I just don't think bikinis are appropriate for young girls. It really is that simple. For me personally, I want my daughter to be fully covered from bra territory all the way down to booty territory. And for a seven-year-old girl, I don't believe that's an unreasonable expectation.
After giving my answer, I was tempted to feel guilty that I had made the decision for her. Guilty for being too controlling. Guilty for possibly quashing her sense of individuality and perhaps her decision making skills.
But I remembered I allow her to make choices and express her individuality in other ways. She chooses her outfits on a daily basis, and even when they are absurdly mismatched (as they usually are), I don't say a thing. If she's happy in her mismatched clothes, I'm happy for her. She also chooses her often unique hairstyles, which activities she is involved in and a variety of other things.
However, I still wondered if I was being unreasonable.
Then as we browsed swimsuits at the nearest discount store, I noticed that the racks were full of bikinis for young girls. After flipping through bikini after bikini, we finally found the one full-coverage suit (a tankini) in her size. And due to the lack of more modest swim attire, I realized there must be a slew of other "mean" moms out there who share my same opinion. Phew. I'm not alone!
When I finally brought the issue to my husband and asked how old he thinks our daughter should be before she is allowed to wear a bikini, he answered "When she's married." And even though I laughed, I have no doubt that he was serious. It was nice to know even if I was being irrational and overly cautious, I had someone on my side.
Motherhood is full of tricky decisions, and it's usually the decisions with no right answer that are most difficult to make.
I have no doubt my daughter will request to wear a bikini sometime in the near future, and my answer might be different at that time. But for now it's still "no." And even after her accusations that I "never" let her do what she wants to, I'm refusing to apologize for it. Because I truly believe it's what's best for her.
And as moms, that's really all we can do – what we think is best for the children that we know best.
Be sure to follow Jenny on Facebook for more on her incomplete family and imperfect motherhood.


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HomePosts tagged 'CINEMATOGRAPHY'
Interview with Cinematographer Rasmus Heise (I KILL GIANTS)
March 25, 2018 matthewtoffolo cinematography, director of photography, interview, Matthew Toffolo WILDsound, Uncategorized	CINEMATOGRAPHY, director of photography, I KILL GIANTS film, interview, Matthew Toffolo WILDsound, Rasmus Heise
Rasmus Heise is the cinematographer of the Netflix Original series "The Rain" and the drama/fantasy feature film "I Kill Giants". The Danish DOP started out working on a string of short films including Oscar-winning family drama "Helium".
Matthew Toffolo: Where were you born and raised? Was photography something you always wanted to do as your career?
Rasmus Heise: I was born in Copenhagen and raised in different cities around Denmark. I picked up a VHS camera at summer camp, age 13, and did a short film starring my sister. I overheard some adults prasing my work. That never left me. It wasn't untill I was around 21, that I fund out that cinematography was what I wanted to do. I was taking the 8 months course at the European Film School in Ebeltoft, Denmark. This is where I met the people that I would go on making short films with for many years ahead. Later I studied cinematography for 4 years at the National Filmschool of Denmark in Copenhagen.
What has been your most proudest work of your career? Or, what has been your favorite project to date?
The first real big challenge was the two final episodes of the TV show called "The Protectors" (Livvagterne, Denmark, director Mikkel Serup). We had to shoot locations in Denmark and Marocco and studio in Denmark. It was a big challenge making it all flow seamlessly, and I think we did a great job. In more recent times I'm very proud of I Kill Giants. A huge challenge for everybody involved. Shooting a challenging script in only 35 days in two countries and with many cgi and in-camera effects. I'm also proud of the work on the Netflix show The Rain. I shot 4 episodes for director Natasha Arthy. We had a huge amount of stuff to do, and very little time. But somehow we and the hardworking crew made it work.
Tell us about the film I KILL GIANTS. How did you get involved in the project? What makes this film unique?
I have worked with director Anders Walter for many years. I have shot about 20 music videos and 4 short films for him. After our short film Helium won an Oscar for best live action short, things started to happen. He was offered to direct IKG, and I jumped on the project with him. The american producers didn't know me, but luckily I had shot the first season of Amazon Studios' show Hand of God for director Marc Forster. So they called him up, and he must have said something nice about me I guess 🙂
The film is based on a really beautiful graphic novel from 2008 by the same name. It's a very beautiful story, and I feel very lucky to have been a part of making it in to a movie. I want to thank producer Kim Magnussen for also helping me get onboard.
Is there a type of film/TV show that you love to work on that you haven't worked on yet?
I would love to make something gritty. A twisted thriller.
What are you generally looking for in a director in order for you to do your job as best as possible?
It's all about being on the same page I think. I always try and spend time getting to know each other. The better I know someone, the better a job I tend to do for him or her. I love directors who has a vision, but are not afraid to let go and let the project take you somewhere you hadn't planned.
What do you think a producer/director is looking for when they bring on you to DP the film?
I know my craft, and I work fast! Haha. I know that many producers like it. I think directors likes me, because I can work in many genres and maybe also because I'm easy to talk to. I see my job as becomming the directors best friend, and I try to be the best collaborator in every way. I want to help the director, but also challenge him or her to push the project to become even better.
What is your passion in life besides photography and film?
These days it's my beautiful family. They are amazing every day.
What movie have you watched the most times in your life (besides the ones you worked on?
I have MANY favorite movies. My all time favorite is Heat by Michael Mann. Have seen that so many times. My biggest dream would be DP-ing a movie directed by Michael Mann. Or PT Anderson. Or David Fincher. Or Marc Forster. Or.. well the list is very long.
What advice do you have for young cinematographers who would eventually like to DP movies for a living one day?
What you need is collaborators. Find like-minded people. Learn and grow together. Film school is not essential. But it's a great place to learn from your mistakes without anybody out in the film industry noticing you screwed up. So if you don't get into film school, or don't have the money for it, find another way to get experince and learn. Make non-budget shorts or do music videos or art projects. Go to a film work shop or find collaborators some other way.
Please follow me on instagram: rasmus_heise
photo:Umedia.
Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every single month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 3 times a month. Go to http://www.wildsoundfestival.com for more information and to submit your work to the festival.
Interview with Cinematographer Frank G. DeMarco (Hedwig and the Angry Inch, All is Lost)
March 16, 2018 March 17, 2018 matthewtoffolo cinematography, director of photography, interview, matthew toffolo, photography, Uncategorized	All is Lost, Cinematographer Frank G. DeMarco, CINEMATOGRAPHY, director of photography, Hedwig and the Angry Inch, interview, Photography in Film
It was an honor for the extremely talented DP, Frank G. DeMarco, to take some time out of his busy schedule to answer a set of questions for this interview.
https://www.frankiedemarco.com
Matthew Toffolo: Where were you born and raised?
Frank G. DeMarco: I was born in Baltimore, Maryland. After studying abroad in Italy and Austria, I moved to New York City—it's America's European city.
Was CINEMATOGRAPHY something you always wanted to do as your career?
I was fascinated by still cameras and had a little Super 8 movie camera as a youth, but I never thought I could make a living with either, so I got a college BA in Modern Languages. I became aware of Cinematography while studying in Florence, Italy during college. When I graduated, I discovered that there were very few jobs for linguists other than working for the NSA. Luckily, I got a gig on a tv commercial and then my life went in the best possible direction—filmmaking!
What has been your the proudest work of your career? Or, what has been your favorite project to date?
Hedwig and the Angry Inch was a big break for me and I am very proud of the work we did on it. I got to work with a brilliant actor-writer-singer-director-punk named John Cameron Mitchell. There were many pressures on us to compromise and make a lesser film, but we held on to the director's vision and made a wonderful cult film that endures even to this day. We've done four films together and each one is very special in its own unique way. However, almost all of the films I have shot are my favorites—I try not to do a project unless I love the script and the director. Beerfest is my favorite comedy, Margin Call is my favorite thriller. Rabbit Hole is my favorite drama. All is Lost is my favorite adventure film. Theremin: An Electronic Odyssey is my favorite documentary. In the TV/Streaming world, I'm proud to say the first 5 episodes of Amazon's Sneaky Pete Season 2 is the best-looking TV show I've shot to date.
Tell us about your working on the first season of MAD MEN. How was the creative vibe on set? Did people know they were onto something and this was going to be a special show?
With MAD MEN, the actors gave everything, the crew was top-notch and the scripts were always good. I loved Dan Bishop's production design and the costumes were spot-on. Everyone hoped the show would get renewed for a second season, but, on the early episodes I worked on, I don't think anyone could foresee how ground-breaking and special Mad Men was going to become.
You DP'd the film ALL IS LOST, which is a film with only one actor: Robert Redford. What was that experience like? I'm sure you haven't had another shoot quite like that one.
All is Lost is a silent film—but with sound. I'm a huge fan of the silent films of Buster Keaton, Fatty Arbuckle, Charlie Chaplin and Harold LLoyd. Silent films are storytelling at its most basic level. I definitely used my study and knowledge of silent films to inform how I shot, lit and composed All is Lost. Working with an icon like Robert Redford was a highlight of my career. His Sundance Film Festival opened many doors for me and I got to thank him in person for that. Redford is an amazing "internal" actor—he doesn't need words. He can convey what's in his heart or on his mind with his face and eyes and body—he probably could have been a great silent film star, but then we would've been deprived of his wonderful voice!
It's great to have a director that knows and likes my work! I look for directors that are collaborative and secure in their own abilities. The best directors I've worked with like to have ideas thrown at them. I've got many ideas and observations when I work on a film and it is a thrill and honor when the director incorporates some of my ideas into the film. I like a director who trusts me to light and compose the film according to the way we discussed in prep. I like a director who is willing to change everything if he sees a better way of doing a scene—and, even if it's at the last minute and there's no more time, I will do everything I can to facilitate that better idea. Most importantly, I like a director who is not only brilliant, but also kind and humble and generous and grateful. We're all there to help him or her make the best film possible.
Producers usually want someone who is easy to get along with, won't make waves, works fast and doesn't cost too much to hire. Each director is so unique, but if they've hired me then they know they have a partner, a collaborator, a co-conspirator and friend that will help make the absolute best film possible.
What is your passion in life besides CINEMATOGRAPHY and film?
I love music: Debussy and jazz mostly. I bash away on a big 7 foot long Yamaha grand piano every day at home. When I travel I bring my sheet music and rent a digital piano for my hotel room. I enjoy cooking for people: when I filmed How to talk to Girls at Parties in England I hosted a Sunday roast for the director, producers, actors and friends every week. I still do it once in a while here in NYC. I love salt water and tides and am incredibly fortunate to have a little beach cottage on a barrier island off of Long Island, NY.
What movie have you watched the most times in your life (besides the ones you worked on)?
I've lost count of the times I've watched the following: Godfather 1, Fargo, Clockwork Orange, French Connection, The American Friend, Breathless, Goodfellas, The Third Man, Treasure of the Sierra Madre, and Dirty Pretty Things. I live across the street from the Film Forum in NYC, so I'm in that theater at least once or twice a week in my spare time watching non-mainstream films, retrospectives (Bergman this month!) and unusual documentaries—I just saw "Andy Goldsworthy: Leaning Into The Wind". It is transcendent!
Early in your career don't have a mortgage or kids. Have cheap rent and minimum expenses. That way you can take the job you want that will advance your career, instead of taking the job you need because you are in debt or have mouths to feed. Make friends of everyone you meet. Help others. Be positive and hopeful!
PHOTO: Frankie on the set of "How To Talk To Girls At Parties" with director John Cameron Mitchell
Interview with Cinematographer Tobias Datum (Imposters, Mozart in the Jungle)
May 11, 2017 May 11, 2017 matthewtoffolo cinematography, director of photography, interview, photography, Uncategorized	CINEMATOGRAPHY, director of photography, Imposters, Mozart in the Jungle, Photography in Film, Tobias Datum
It was a pleasure to have the very talented Director of Photographer Tobias Datum answer some questions.
Go to his website for more information: www.tobiasdatum.com
Matthew Toffolo: Is there a project to date that you've worked on that you're most proud of?
Not really. I do love all the things I have worked on. I put my best effort into all of them.
Sometimes they turn our great, sometimes they are less successful (according to my personal opinion) but I have yet to have a bad experience making a movie (knock on wood).
What was the biggest thing you learned working on the many shorts that you DP'd?
Shorts can be a great opportunity to try things out. They have a very different rhythm from features and are less forgiving than a longer project can be. You need to find your groove on set a lot faster because the schedule is shorter and the same goes for what you are shooting.
Everything is a bit tighter and you can't slip
What suggestions would you have for up and coming cinematographers who want to be where you are?
Just keep working.
Keep your expenses low so you can afford to take on projects that don't pay much but are projects you feel strong about.
Be nice to everybody, stay curious and excited about the work
You have been in a unique position where you were the Director of Photography on two seasons of "Mozart in the Jungle" and the current 1st season of "Imposters". How have those experiences been like working with different directors for each episode while being the driving force for the look and tone of the television series?
Both of those shows are pretty intimate affairs.
In both cases the majority of episodes are directed by the creators and over the now 3 years of "Mozart" we have grown into a bit of a family.
Outside directors are usually pretty good fits into the existing group. In both cases the creators of the show have a lot of control over the show and the hiring.
I have only had great experiences with the "outside" directors.
In prep the first AD will also give them a good idea of where the challenges are and we then tackle those together as a group.
Most of the time the directors will have a very good idea what the show and are there to play and all of us, cast and crew, are open to play as well.
What are you looking for in your director when working on narrative shorts or features?
Mostly whether I can imagine spending a lot of time together with that person and enjoy it.
What is a director looking for in you?
If I knew… it's probably different every time.
Is there a project that you love to work on that you haven't worked on yet? (genre, style etc..)
Anything Azazel Jacobs is going to make in the future.
Where were you born and raised? What becoming a successful DP something you always dreamed of doing?
I was born and raised in Frankfurt, Germany.
No one in my family worked in film or media related jobs and I also didn't watch much TV or go to the movies as a child and young adult.
I always had jobs as a teenager and ended up being involved in a little music/theater venue. There were a few par cans and a little dimmer board there and one day a friend who also worked there asked me if I could imagine working with him and 2 other guys at a much bigger venue in the summer for an annual theater series. I said yes and I ended up working there for 3 summers.
In that period of time the audience number grew so big that they had to hire someone who was certified. I was 18 at that time. That person took me on as an assistant and introduced me to film. Somehow I liked what a DP did and started exploring anything visual. I did internships/apprentice ships at a post production, editing and animation and worked as a electric and grip and ultimately applied for film school in Berlin, Germany.
After that I went to AFI where a met a lot of people who I still friends with and work with as well.
In short it was a bit accidental and I am still learning as I try to catch up.
What film, besides the ones you've worked on, have you seen the most time in your life?
Perhaps Harold and Maude. Not sure. I do like american movies from that time for sure.
In general I gravitate towards older movies. Often international movies.
I really like that streaming service https://www.filmstruck.com/
Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.
Interview with Cinematographer Michael Simmonds (Nerve, Vice Principals)
August 11, 2016 August 11, 2016 matthewtoffolo cinematography, director of photography, interview, matthew toffolo, Matthew Toffolo WILDsound, photography, Uncategorized	CINEMATOGRAPHY, director of photography, filmmaker, filmmaking notes, interview, Matthew Toffolo WILDsound, Michael Simmonds, Nerve photography, The art of Cinematography, vince principals photography
Michael Simmonds is a wealth of knowledge when he chats about his love of cinematography. He is a man who is constantly looking into the future and only looking back when inspiration is needed. He is a rare talent who is able to move seamlessly from documentary to TV to feature films. It was an honor to chat with him.
Matthew Toffolo: What are the biggest things you learn when you work on documentaries that help you when making live action feature films and TV shows?
Michael Simmonds: There are many ways to approach shooting a Verite documentary. Sometimes you need a complete and editable scene every ten minutes. Meaning, you are constantly getting CU's, inserts and establishing shots over and over again, regardless of what is happening. Or you can approach a doc like you would going fishing–you stay back with the camera and drift around until something interesting happens and let that lead the way for the camera.
Shooting a documentary makes you figure out coverage really quickly. All storytelling needs to have shot size variation to show the audience what is "important". Verite documentary is basically filming a live event. The people move around and interact with other people and space and you have to make visual sense out of it for the audience. In narrative you can use this technique by blocking a scene as an "event" and keeping the blocking of the actors "loose". This works well in chaos scene with lots of people. The actors perform the "event" and the camera films the scene like a doc, meaning there is no formal shot list or "plan".
PHOTO: Michael DP'd the landmark film "Project Nim":
MT: Out of all of the projects you've worked on, what film are you most proud of?
MS: I only focus and think about whatever I am currently prepping or shooting. I try my hardest and show up to set with all the energy and focus I can muster each and everyday. As for the final product, I often joke that I would enjoy filmmaking just as much even if the camera was never recording. The finished film is of little interest to me aside from a sense of curiosity…
As for "what of my work can I watch and enjoy"; that would be "Plastic Bag". It's a short film about the life of a plastic bag. It's a lot of fun to watch and I have fond memories of making it. The filming of it involved lots of throwing bags into the air and shooting leaf blowers at them, it was ridiculous so we laughed a lot.
MT: You DP'd the entire 2nd season of Vice Principals. I heard that most scenes were improved by the actors. How is that experience working on a set where you don't know what's going to happen take after take?
MS: I don't think most of the scene were improvised. It wasn't like a Judd Apatow film where you can feel the dueling two camera set up and the actors riff off each other. VP had very tight scripts and David Gordon Green would create film level blocking. The actors definitely added to the dialgue, but not any more or less than other projects I have been involved with. On a comedy, even if the actors improvise, its in regards to dialogue and not their actual movement, so it does not effect me. I alwas operate with headphones on so I can hear the actors perfectly and I can anticipate their movement.
Photo: Danny McBride vs Walton Goggins in "Vice Principals":
MT: Do you have a Director of Photography mentor?
MS: I would have and currently would want a DP mentor but unfortunately I never had one. Amir Naderi was a director I worked with early on who taught me about composition and framing. He has a very sharp eye and was always pushing for a perfect take. Ramin Bahrani and I would discuss story structure endlessly and I still read Alexander Mackendrick's "on filmmaking" every year. Understanding story is the foundation to understanding how to film a scene.
I learn more and more about lighting on every job. In my opinion lights are the hardest medium to work with. They are like painting with water color paint. You never really know what they will do. There are so many variables that will effect the way they function in the photography.
MT: What do you look for in your director?
MS: I want a good collaborator in a director, someone who is not afraid of communication. Good ideas come from lots of ideas. Although a director needs a "vision" they also need to explore all possibilities in a scene. They must be a leader and exciting, but egoless. Their decision process should not be based on fear, which is rare. Most people make decisions based on fear, which makes for a weak film. Bold choices make good films.
MT: What do you think a director looks for in their cinematographer?
MS: Fuck if I know…!
It's a myth that directors alone choose a D.P. or make any big hiring decision alone. A director might push for someone they have worked with or they could advocate for someone they want to work with but all decisions usually have to go through a producer, financier or studio. Usually a director would be given a list of people to choose from… Of course on more "auteur" films this is not the case.
How do you get on that list that gets handed to the director is a whole other question…
MT: Ideally, how much preparation do you like to do before you begin principle photography? Do you like working with storyboards?
MS: Prep depends on the scope of a film. Nerve needed lots of prep due to the logistics of the stunt sequences. You need a storyboard since so much of that work is a "cheat" and takes place in a "fictional" space. By fictional space I mean that the space as presented on the screen does not exist in the real world. For instance a snorkel lens shot that feels "inside" Dave Franco's helmet does not need to be filmed on park ave south. A storyboard also lets you understand what shots need the actual actors opposed to the stunt people.
A good stunt sequence is a lots of micro stories that fold into each other and those have to be mapped out.
White Girl didn't need any storyboards since the film didn't require cheating any spaces or stunt sequences… the front door to the protagonists apartment was actually the real front door…
A film like white girl doesn't even require a shot list. We would block out a scene and film it as a moving master and then do some pick up shots for specific moments.
Photo: David Franco and Emma Roberts in "Nerve":
MT: Where do you see the future of camera/lighting technology in film?
MS: Although there is a romance and nostalgia for film negative, digital imaging has really improved lighting for movies. We are much more comfortable with underexposing now than in the past. Of course Savidis, Khondji and Willis did great underexposing and making bold lighting choices, but now you see modestly budgeted TV shows that look bold and interesting.
Focus pullers often use large HD monitors to pull focus which has allowed for super shallow depth of field that didn't exist when I started out.
I have no idea where imaging will be in 10 years but the technology has been a mixed blessing with lots of advantages.
Although there is a lot of new technology coming out for camera support, no one product has replaced an older one. The movi did not replace the steadicam and the steadicam did not replace the dolly… its just more tools to use.
MT: What film, besides the ones you've worked on, have you seen the most times in your life?
MS: Probably something like RepoMan or something culty like the Warriors. Or maybe Wong Kar-Wai's Fallen Angels since it was such a game changer in how movies looked. I am often going back to watch Danny Boyle's work. I truly believe he is the best populist filmmaker working right now. He isn't scared of technology and he is keeping up with how people currently read images…. Currently I'm not interested in filmmakers that are referencing the past.
But when I am in a hotel room I like to watch something like Runaway Train.
MT: Where did you grow up? Did you always want to be a cinematographer?
MS: I grew up in Scarsdale, NY. It's a suburb 30 mins from the city.
Most filmmakers have a romantic story about a super 8 camera etc… My history wasn't like that. My eyes have always been super sensitive to light. I get migraines in the sun and I was always particular about lighting in rooms, even at a young age. I was strict about when a household light would be turned on and which ones. I also liked to boss my friends around…. These qualities probably lead me to my profession.
Around the age of 18 I wanted to go into filmmaking. I started out at Hampshire college but there wasn't enough of a focus on commercial filmmaking, so I transferred to a school of visual arts and started to focus on cinematography.
Before that I wanted to be in a rock band…. But I didn't like staying up late and carrying equipment. Little did I know that cinematographers stay up all night and have a heavy camera on there shoulder all the time!
Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto on the last Thursday of every single month. Go towww.wildsound.ca for more information and to submit your work to the festival.
Interview with Cinematographer Trent Opaloch (Captain America: Civil War)
April 10, 2016 April 11, 2016 matthewtoffolo cinematography, director of photography, film notes, filmmaking notes, interview, Storyboard Artist, Uncategorized	captain america cinematographer, captain america civil war, chris evans, CINEMATOGRAPHY, director of photography, filmmaking notes, interview, Matthew Toffolo WILDsound, neil blomkamp, robert downey jr, russo brothers, The art of Cinematography, Trent Opaloch
Trent Opaloch is easily the most talented and sought after cinematographers in the world today. He has DP'd for director Neil Blomkamp on "District 9", "Elysium", and "Chappie", and director's Anthony & Joe Russo on "Captain America: Winter Soldier", and the upcoming "Captain America: Civil War". It was an honor to sit down with him to chat about his career and the art of cinematography.
Mathew Toffolo: You first worked with director Neil Blomkamp on the short films "Tempbot" and "Yellow". How did you two meet? What makes your director/DP relationship so successful?
Trent Opaloch: I met Neill shooting low budget music videos. We shot a handful of videos & short films while I was working at Clairmont (camera rental house) & he had just left a vfx house here in Vancouver.
He used to do all his own vfx work back then so it was really interesting to see the the whole process. That was all happening at a very exciting time for vfx where some pretty sophisticated tracking software was coming out and it really freed up the camera & made it possible to use that hand held energy with extremely realistic visual effects. It was great because it was the first time your imagination wasn't limited by what you were able to build in reality. It opened up the possibilities for story telling and those shorts and small projects were a great training ground for the big vfx movies that we're doing now. You can apply those same basic principals on a much larger canvas at bigger budget levels.
MT: You both leaped into the feature film world in the highly successful film "District 9". How was the initial experience moving from shorts to features? Do you remember the initial cinematic design conversations you had with Neil about the film?
TO: It was a pretty easy transition for Neill & I to go shoot District 9. We had developed a good short hand over the years on the shorts and music videos so it was just a matter of doing our thing with a much larger crew. The challenge is to communicate with the crew so everyone is on the same page. That's a different dynamic to how we would have worked on the smaller things with just a few people.
The way Neill described the film to me, and to this day this is the best pitch I've ever heard. He said imagine there was a documentary made by the NFB (National Film Board here in Canada) that was about these aliens landing in Johanessburg in the 80's. And someone taped that documentary when it played on tv in the 80's on a vhs tape and then threw that tape in a drawer for 20 years. And you come along and blow the dust off it & pop it into your retro vhs machine & press play. That was his pitch for District 9 and it instantly communicated everything you needed to get the film. Brilliant.
Now things changed in the process of course so it wasn't as degraded an image as that. I actually wanted to shoot on 16mm with the NFB doccie esthetic in mind but Peter Jackson bought a boatload of RED ONE cameras so that was nipped in the bud.
PHOTO: Cinematography of the film DISTRICT 9:
MT: What were your reactions to the success of "District 9"? It must have really changed your life and career path?
TO: Well it was pretty amazing to work on something that was so well received around the world. It was a difficult film to make in some pretty harsh environments but we had a great group of people on it. It sort of felt like there weren't any 'grown ups' around to tell us what to do really. Neill had set things up so that were on our own to make the movie our own way which was pretty amazing when you think it was his first feature.
MT: What brought you to the Captain America movies? How is it to DP a film that has two directors?
TO: I've actually worked with directing duos quite a bit in commercials so it wasn't that strange for me to step into that sort of thing for Winter Soldier. I got the call for the first meeting with Joe & Anthony Russo and I was really impressed with them and their approach and how they wanted the film to feel.
I actually don't mind the director duo thing as long as they have their dynamic figured out between them. Different directing teams work in their own way that is specific to their combined personalities so you get different approaches. The fact that Joe & Anthony are brothers is great because they have this great bond between them that goes back decades and they've worked together on so many things in films & tv shows that they have a good system down.
MT: "The Winter Soldier" was an amazing comic book/action film. Even the Fanboys couldn't help but give it ultimate praise. What were the broad strokes ideas you had with the Russo's in terms of the cinematic life you gave the film? It was a different feel to the other Marvel films, but it still was a Marvel film. A fine line to balance one would assume!
TO: It's funny because I never really planned on ever shooting anything like that but I loved the creative approach that the Russo's had for the film. Our whole thing was to take the edge off the genre of it all by basing it in reality as much as we could. I really liked the idea of shooting the film like a 70's conspiracy thriller to ground the whole thing a bit. We referenced films like "Marathon Man" & "The Three Days of The Condor" early in prep.
PHOTO: Chris Evans in Captain America: Winter Soldier:
MT: You have a big film coming up in "Captain America: Civil War". How were you experiences working on that film? Can you give us a sneak peak as to what to expect? It seems like all of the stars of the Marvel Universe are in this film!
TO: It was great to get back with the Russo's and the team again for Civil War. We had just an amazing crew so that makes the whole experience so much better. The people around you are very important when you're up against challenging situations. We shot quite a bit of our exteriors on the Pinewood backlot in Atlanta & the heat & humidity can be quite brutal.
On a movie of this size it's assumed that everybody knows their jobs at this point so it really comes down to having a great attitude under pressure and being there together for the film.
We were also very fortunate to work with a great German crew in Berlin that made our transition over there very smooth.
There were a ton of actors on this film and that was actually quite challenging to shoot them all with their crazy schedules. The tough thing is that you can end up shooting someones close up in another country and weeks after you've shot the other side of the conversation so it's always a challenge dealing with changing weather conditions etc. to maintain some cohesiveness to the scene.
I'm starting up prep on the new Infinity Wars films that we're shooting back to back with the Russo's later this year & the scale of those two films combined is a bit mind blowing so it's good that these last two films have ramped up in terms of scale and complexity because each one prepares you for the next.
PHOTO: Robert Downey Jr. in Captain America: Civil War:
MT: How much of the Captain America films are storyboarded? Are you a part of that process in pre-production?
TO: These films are heavily boarded & pre-vised, far more than anything else I've ever done. The pre-vis process starts very early in the film's development so that's when you have to get in there to help start guiding the process along with the directors so that it fits in with what everyone is aiming for and what the production team is going to do on set.
The Marvel films are incredibly collaborative and that's a huge part of their success I think. We have worked with the vfx supervisor Dan Deleeuw on these last two films and he is in charge of building the pre-vis sequences so that is an invaluable resource to start the discussion with the whole team before you get out there on the real-time clock burning production money.
MT: You have obviously mastered the cinematic artform of the intense action/thriller film. Is there another genre that you like to work in?
TO: I don't have any specific genre goals as far as the types of films I'd like to work on really. I'm always just looking for scripts that I enjoy and that hopefully have something to add to what's out there already. I shoot a lot of commercials in between film projects so I don't mind turning down things & waiting until something interesting comes along. Feature films have such a long development period & then you're away from home for most of the year prepping & shooting so you have to choose your projects carefully.
MT: What advantages/disadvantages do you think you have had starting in the short film/indy world in comparison to other DPs who worked through the Unions to become a cinematographer?
TO: The biggest thing I feel was missing from the early days was the opportunity to see how other cinematographers worked. That's the nice thing about working your way up through the ranks. You're in the front row watching how the big boys do it. I used to do set visits when I worked at the rental house & it was always cool to see the different lighting approaches or specific rigging that someone had done.
Also my step dad had a subscription to American Cinematographer so I had read every single page of every issue since I was 16 years old. That was invaluable, of course this was years before the internet and the behind the scenes special features on dvd's & blu rays that we have now so that was the best way of seeing how things were done at the time.
I think the advantage of starting the way I did is that you're doing what you want to do from the beginning so you start developing right away. The trap in working your way up through the different crew positions is that you can get trapped there. All of a sudden you're 15 years into working sets and paying off a mortgage so it's tough to make the leap & reimagine your career as a DP. I think if you want to do something than you should just start doing it at whatever level you can.
TO: I don't have one individual really but there are countless people that I learned from when I first started shooting. I started working at Clairmont Camera in Vancouver after film school so I was around professional camera crews full time & just tried to learn everything I could, just hoover up as much information as you can. Why that lens over this one, when to use a fluid head vs. wheels etc. Just tons of little details that you absorb over time. I think that was a great introduction to how things worked on set but at the same time I wasn't that interested in working on tv shows or MOV's at the time so I shot my own stuff or with friends on the weekends & was able to develop over time and make mistakes in a safe environment where there wasn't a ton of money on the line.
TO: Well it's an exciting time as far as what's out there already & what's coming out. The camera technology just keep getting better every year and LED lighting is really coming into it's own so it's great to have options available to you to choose from the toolbox for different scenarios. I've really been enjoying running our lighting setups through DMX lighting consoles and media servers for the last couple of years. You just have almost infinite control over the quality and the dynamics of the light as far as movement and colour.
TO: That's a tough question. Probably "Blade Runner", "Heat", "Close Encounters of the Third Kind", "Jaws", "Godfather 1&2", "Stalker", "The Conversation" "Apocalypse Now" all the classic iconic movies. There's a ton more for sure. There are just some films that you come across on tv and it's impossible to stop watching even if you've seen it a hundred times. My parents had "Das Boat" and "Fitzcarraldo" basically on infinite repeat in my house when I was young too which drove my sister and I crazy at the time.
TO: I was born and raised in a place called Thunder Bay in Ontario Canada. It's quite a small town and I moved away for high school but went back to film school at Confederation College so it was great to be back in my home town, starting a new chapter of my life. I was more into music as a kid and played in different bands growing up so I never really thought of film as a career until my early 20's when I went to film school.
My step dad was a nature cameraman when I was a kid so he took me out on his shoots and taught me how to load film and thread the camera etc. Of course it was more documentary work so there was no lighting at all but it was a good introduction to camera and sound equipment. I used to go into the post production offices where they cut his films and would see shots that we had taken cut into the edit so it was almost like pre-film school for me as a kid.
Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.
Interview with Cinematographer Julio Macat (Home Alone, Wedding Crashers, The Boss)
April 6, 2016 April 6, 2016 matthewtoffolo cinematography, director of photography, film notes, filmmaking notes, matthew toffolo, Matthew Toffolo WILDsound, photography, Uncategorized	Ace Ventura, CINEMATOGRAPHY, director of photography, Film Directing SHOTS, filmmaking notes, home alone, Julio Macat, Matthew Toffolo WILDsound, movie tips, The art of Cinematography, The Boss cinematographer, the nutty professor, the wedding planner, wedding crashers
What an honor it was to sit down with Director of Photography Julio Macat. Julio has DP'd most of the top comedy films in the last 25+ years. His list of credits include: Home Alone 1, 2 & 3, Ace Ventura: Pet Detective, The Nutty Professor, The Wedding Planner, Wedding Crashers, Winnie the Pooh, Pitch Perfect, and the upcoming comedy The Boss, starring Melissa McCarthy.
Matthew Toffolo: You have worked in the Hollywood Film Industry scene for the last 36 years. What has been the biggest change in the filmmaking process from 1980 to present?
Julio Macat: The biggest change in our industry has been the choice of material that studios and most independent financing companies green light, as what films are made. It used to be that a film like ORDINARY PEOPLE would have no problem going forward, especially with a good director attached. Now, great films like that rarely get made anymore. I miss that.
MT: Of all the productions you've worked on, what film are you most proud of?
JM: Without hesitation it's HOME ALONE, it was a rare combination of all the elements of film making coming together harmoniously with a result better than expected.
PHOTO: Cinematography in the film Home Alone:
MT: Home Alone is one of the most successful films in movie history, and it's a film that really stands the test of time. During filming, did you ever imagine that this film would be as iconic as it was?
JM: No I didn't. My hope was that it would be liked as much as I liked A CHRISTMAS STORY and that kids could relate to and be empowered by it. But It's unusual to sense that you are doing something that special because you are in a vacuum, trying to do the best you can in your department (the visuals) and just hope that everyone else had their act together as well…Fortunately our young director Chris Columbus, had a great vision of what "it could be" and he guided us all in a great direction. The film was that unique circumstance where every layer that was added made the film even better…and John Williams' score was truly icing on the cake.
MT: You've definitely been a part of some of the most successful films in the last 25 years (Home Alone, Wedding Crashers, Pitch Perfect to name a few). Is there a film that you worked on that didn't do well at the box office that you consider a terrific film that people should see?
JM: Yes In comedy, I loved MY FELLOW AMERICANS which came out at an odd time and no one saw and the drama CRAZY IN ALABAMA which was a bit too long and did not connect with American audiences.
PHOTO: Crazy in Alabama. Starring Melanie Griffith:
MT: You just wrapped "The Boss" starring Melissa McCarthy, Peter Dinklage, and Kristen Bell. Can you give us a sneak peak as to what to expect?
JM: I have not been this excited about a comedy coming out since I photographed WEDDING CRASHERS!
JM: THE BOSS is the perfect vehicle to show Melissa McCarthy's incredible talent. I think she is the present day Lucille Ball, someone who can and will do ANYTHING for a laugh and unlike other comedians, it's ALWAYS really funny. She has the uncanny ability to step outside herself and correct situations to make them hilarious without being self conscious! There is a scene in which she puts on a teeth whitener to have Kristen Bell clean her teeth and holds a conversation while they are being cleaned. I assure you that this will have the people in theatres roaring with laughter! We had to start the scene again repeatedly, because the other actors and the crew could not stop laughing during the takes.
PHOTO: Melissa McCarthy in THE BOSS:
MT: Some of the comedies you work on the director demands the actors stick to the script, whereas other films, like Wedding Crashers, there is a lot of improvising occuring. Do you have a preference when shooting? How does the scene lighting setup change when you know the actors are going to go off script?
JM: It's been my experience that comedy is an imperfect and individual science. The best results come when you leave an opening for great accidents to happen. So I try to not lock in actors with blocking that is too precise, and for example, if the scene develops into being filmed in an area that we had not anticipated, well, that then turns into a fun challenge!. Hopefully this adds to the piece. Ben Falcone and Melissa were eager to want overlaps in dialogue and action in some of our scenes, to be a part of the looseness of the jokes, so they asked that I cover these scenes with three angles simultaneously. It was challenging photographically, but the results were worth the effort and we got many "improvised " moments with the proper intercut coverage.
MT: Since you started in the camera department, do you prefer operating the camera yourself? Or does this all depend on what type of film (budget/Union guidelines) you're working on?
JM: I love operating the camera myself, and on some productions I prefer it.
But since I've now done 17 films with first time directors, lately, I find that all can go faster when I spend more time by the director's side and away from the camera. I do love stunts, however, and I love operating on the tough shot …so that we get it in one.
MT: What's the main thing you look for from your main crew members? Gaffer, Key Grip, Camera Operators etc…
JM: My most important criteria in choosing crew is PERSONALITY. After this many years in the film industry, I found that many people are qualified for the job description, not as many have the agreeable, kind and respectful personality that I require to be in my crew.
I like to be the example of being respectful to actors, directors, producers and other crew members. I expect my crew to do the same.
It's amazing how much you can achieve with a hand picked crew that has a positive attitude and general kindness toward each other, I am always amazed at this, especially when we work under such tough circumstances that we often encounter. With this approach, when the pressure mounts with things like weather challenges, not enough time, locations changing, etc. etc. which by the way, are actually the daily obstacles of filming, one can rely on the crew to process it, deal with it professionally and find a solution with kindness achieving much better results.
MT: What do you look for in your working relationship with your director?
JM: A collaboration, Hopefully I look for this person to be someone who will do their homework, roll their sleeves up along with me and work as hard as I do.
I look for the director to be considerate of my craft and the elements I may need in order to help them realize their vision for the film And finally, maybe most importantly, a sense of humor.
MT: What movie, besides the ones you worked on, have you seen the most in your
life?
JM: It's a three way tie: In this order though…
JULIO MACAT, ASC
Interview with Cinematographer Adam Stone (Midnight Special, Take Shelter)
April 1, 2016 April 2, 2016 matthewtoffolo cinematography, director of photography, film director, Matthew Toffolo WILDsound, Uncategorized	adam stone cinematographer, CINEMATOGRAPHY, director of photography, filmmaking notes, Loving 2016 film, Matthew Toffolo WILDsound, Midnight Special, mike nichols dp, movie review, Mud, Take Shelter
In his brief career, Adam Stone has already established himself as one of the top DPs in the industry today. It was an honor to sit down with him to talk about his craft and the exciting films he has coming out in 2016. This weekend his film "Midnight Special" is being released to rave reviews.
Matthew Toffolo: You have worked with director Jeff Nichols on many films. Where did you first meet? Why does your working relationship work so well?
Adam Stone: Jeff and I worked on a total of 5 films (Shotgun Stories, Take Shelter, Mud, Midnight Special, and Loving). We met in film school at the UNC School of the Arts in the late nineties. I shot 2nd unit for a few of David Green's early films (George Washington and All The Real Girls) and I guess Jeff liked what he saw. He asked me to come out to Arkansas to shoot Shotgun Stories in the summer of 2005. The project had absolutely no money but we convinced a core group of friends and family to crew-up and Joe Dunton Camera essentially gave us a Moviecam and some anamorphic lenses for free. We were fortunate to have talented people that believed in us. Without them the film would have never seen the light of day.
PHOTO: Cinematography for the film "Midnight Special"
While working on Shotgun Stories, Jeff and I found we had quite a bit in common. Aesthetically we liked to shoot in the South against a backdrop of kudzu, rusted out cars and interesting characters. We also shared a love of widescreen cinema with simple, yet stately, camera work. We combined those ingredients into a form of southern cinema people seem to enjoy. We have definitely come along way since the days of Shotgun Stories. It has been a great evolution with a true friend and mentor.
MT: "Midnight Special" is set to hit the theatres this week. What can we expect to see?
AS: Midnight Special is a unique movie that's kind of hard to categorize. It's a genre bending mash-up of a road movie and sci-fi flick that pays homage to Perfect World, Starman, and Close Encounters. The movie starts without much explanation or backstory, all we know a man is on the run with his son. As the movie progresses we learn the boy has special powers and is dying. His father must keep him alive while the government and a religious sect are in pursuit. Despite all of the characters, themes, VFX events, and unanswered plot points the film is very simple. At the core, it's a story about a father's love for his son and how he will do anything to save his boy.
MT: Another film with Jeff, "Loving", is also set to hit theaters in 2016. It's set in the 1950s. When DPing period pieces, what type of research do you do? Was there another film(s) that was the inspiration to the cinematic design of the film?
AS: To be honest, Loving is the first period piece I've had the pleasure to shoot. Jeff's script was based on a true story about a Supreme Court case so there was plenty of material to unearth. One of the greatest treasure troves was the work of Grey Villet. He was a super talented photographer that documented the story of Richard and Mildred Loving for Time Magazine in 1965. The pictures he took influenced the script, production design, costumes, and the cinematography.
I really fell in love with the objectiveness of Villet's work. He always employed a wide lens so he really had to campout and wait for candid shots. Jeff and I adopted this technique and let a number of scenes play out in wide observational shots. We also recreated several of Villet's photos in the movie. It was really cool to see his black and white work come to life in vibrant moving color. To be honest, Jeff and I had to get acclimated to dailies since we had been referencing Villet's work for so long.
PHOTO: On set for the upcoming film "Loving":
MT: Do you have a favorite experience in your work as a Director of Photography? What film are you most proud of?
AS: Most of the projects I shoot, whether features or commercials, don't 'really' contribute to the greater good of society. They might be artful or compelling but they do not teach or enlighten. That's why I'm proud to have worked on Loving. Loving sheds light on an important part of history while telling a meaningful story.
I'm also proud how Loving looks. The camerawork is very simple and the lighting is very organic. My main goal was to let the cinematography be an afterthought. I wanted the audience to pay full attention to the story, characters, and locations – not the camera.
MT: You have Dp'd a few documentary films. What is the general difference between the working on a documentary in comparison to regular narrative film?
AS: I have always had a deep fascination and love of documentary films. The cinematography of Ron Fricke and the still photography of Dan Eldon compelled me to get behind a camera in film school. At that point in life, I wanted nothing more than to travel the world and shoot amazing people and locations at golden hour (to be honest I still have that desire and wanderlust).
Production-wise documentary work and features are not too different. Both utilize similar equipment, call sheets, tons of planning, long hours, and figuring out a creative way to shoot the story. The biggest difference between the two is the time it takes to complete a documentary. Many docs enlist several shooters because of the length and sporadic nature of the schedule.
MT: What type of film would you love to work on that you haven't worked on yet?
AS: That's a great question. I'd love to work on a film where the camera is constantly on the move and has the ability to effortlessly traverse every spatial plane. That approach totally goes against how I usually shoot a film where the camera is moored, grounded, and is always someone's point of view. Seldom do I move a camera for the sake of moving a camera – I guess that's why I have a fascination with moving it.
I believe my lust for camera movement is directly attributable to the amount of the Red Bull Channel I consume. I really love to veg-out and watch how they fly the camera. Fortunately, I might shoot a film this summer that begs for some fun full-throttle camera movement and I'd love to incorporate more techno crane and steadicam into the equation.
MT: What does a DP look for in a director?
AS: Before I take on a project I have to be intrigued by the script and most importantly believe in the director. The director is the captain of the ship and must have a clear vision and game plan to lead the film from its inception to the very end. Besides being a strong leader the director should be compassionate, open-minded, and have a sense of humor. If all these qualities align, I'm more than enthusiastic about taking on the project and working with the director.
AS: I had a dear friend that was my cinematography teacher and mentor in film school. His name was Robert Collins and he really taught me to be a compassionate filmmaker. One of the biggest lessons I learned from him was to surround myself with good people on set. He always said the friends you make in film are more important than anything you shoot. I totally agree with his sage advice. Unfortunately, Robert passed away several years ago and he is deeply missed.
MT: What do you look for when hiring your main team? Gaffer. Key Grip. Camera Operator. Etc…
AS: I've been very fortunate in my career to work over and over with same core group of individuals. The crew I work with are my best friends and co-creators. On occasion, when I hire a new member he/she must share the same attributes as the rest of the crew. He/she should be kind, artistic, hard working, honest, and most importantly soulful. It can also be noted, I rather hire someone that is green and enthusiastic over someone more experienced and jaded.
PHOTO: Adam and the camera department from the film "Midnight Special"
AS: Though I'm a proponent of celluloid I love where digital filmmaking is headed. Digital filmmaking has come a long way over the past decade. Camera sensors have gotten better and the lenses look more filmmatic and less clinical. I really admire films such as Revenant that use digital cinema in a smart way. Lubezki made a beautiful movie harnessing the best attributes of digital. He used great equipment (Alexa 65 and Panavision Master Primes), shot in amazing light that accentuates a digital sensor, and flew lightweight digital cameras. That coupled with jaw dropping landscapes, a simple story, and seamless VFX work made for a movie that really resonated with me. I truly love when movies use technology to advance a story instead of letting technology overtake the story.
Lighting has also come a long way in the past 10 years. LED, plasma lights, and iPad enabled dimmer boards have evolved and become onset staples. The ability to control all of the lights on set, whether on a stage or location, from a tablet is amazing. With just a few finger swipes you can audition lights (even dim and recalibrate the color temperature). This is a great timesaver when lighting a big exterior night scene.
AS: I really don't watch the films I shoot once they are released – since I see them so many times in post. I guess the two films I've seen the most is Some Like It Hot and Baraka. I have a weird 'thing' for old screwball comedies and I have always been obsessed with Baraka. I guess if I was stuck on a deserted island those would be my go to films.
PHOTO: Adam Stone at work:
Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Fesival held in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.