Daniel Smith

Turns out I may be able to make it. Although I'm going with someone, so I don't know what time I'll get there for. So if we can start exchanging mobile numbers now, we can make some form of contact when we actually get there. Mine is 07807975295.

Wow... that's pretty insane.

Thursday... blahh! you suck! Unless I get this job working at the Video forum.

Doesn't seem to log in for me.

I'm in London on wednesday... so should be able to make it.

I just spoke to Tapesuk.co.uk and apparently they won't. And unfortunatelly they don't do recycled medium tapes...

Thanks. I don't know anyone who's ordered from Tapesuk.co.uk but they specialise in tapes so, I'll presume they are good. What I really need to know is if the 94 minute large tapes will work inside the HDX900. Becasue on the web site they are listing both small and large tapes, and I'm not sure if they are reffering to the physical length of the tape or the size. Cheers.

Paul Haggis, 2004. Haven't seen the other one.. it's in my uni's library, will rent it someday.

Hi. I'm buying some stock for my bluescreen film, and couldn't help but notice the recycled/evaluated tape is about 75% cheaper. I don't mind buying the new stuff, but if the evaluated tapes are ok then I'd rather just save myself a load of money. So, do I dare cut corners and buy the recycled stuff? Will drop outs be a problem? Also, the large DVCPro tapes will work inside the HDX900, right? Thanks. p.s. Buying from here: http://www.tapesuk.co.uk/acatalog/DVC_Pro.html

It wasn't a CGI vs. cinematography debate it was CGI vs. real. I'd rather something not look as impressive, but atleast make it real. And that in itself has a greater effect.

I had a debate about this a while ago around here... I'm not so keen on CGI myself. I think it looks too perfect and plastic. However, I'll make an exception for the work done in Lord of the Rings and King Kong..

Thanks. I'll check out that BFI library at some point... shame I couldn't for this (not in London right now) but it sounds interesting.

Hi. I'm writing up a simple 1000 word report based on La Haine. Here is the project brief: http://homepage.ntlworld.com/bas/file.php.doc I'm not asking anyone to do it for me or anything all I'm asking for is perhaps some usefull sources of information for listing. Be it from DVD's, web sites, books or whatever. Reason being I have to write this in the typical degree style format (listing all references) The problem I have is that I learnt everything about this film from my teacher back in college. I don't know of any good sources. (And I can't go listing my teacher 20 different times..) Any help with this will be appreciated. Thanks.

I don't know if this will ever make my top 5.. perhaps top 10, but I saw 'Crash' for the first time tonight. I am in awe. Best movie I've seen in ages...

I personally own a Nikon D40 and get along with it just fine (see my photography page, link below) However I would suggest looking into the Pentax K100d. The build quality is amazing for a camera of that cost. Only complaint I would have is that I'm not too keen on the smoothness of the shutter. Everyone just seems to run away when it's not Nikon or Canon... but the Pentax really does seem to be the best value for money.

#1 Leon #2 The Wild Geese #3 Star Wars #4 Road to Perdition #5 La Haine

I think it's probably just a case of getting to know the crew on a personal level. Which requires good social skills.. (I'm screwed, I have Aspergers) The DP will feel more reluctant to firing you after you've made a suggestion, when he or she has had a laugh with you previously, and knows that you aren't trying to tell him how to do his/her job, you are just making an honest suggestion. That way your suggestions will be taken in and will credit you. I think confidence in what you are doing is the other thing (looking confident). Don't be intimidated by other more experienced players. You know what you are doing, if someone tells you otherwise, then tell them to worry about their own job. Because from my experience, people just take the p*ss when you look un-confident. Screw that. I know it's weird saying this (aged 19 n' all...) but I wouldn't give up having a family to work stupid hours, rig up lights etc. with 40 year old men on 16k a year.

Shootingpeople.com Great place to get a few positions on some small scale films, un-paid of course, but you'll learn a great deal from the experience. (And they pay your travel expenses)

I read all the comments here, and have taken it all in. Thankyou for all your kind advice. To be honest I suppose I don't mind waiting, it's the 'moving in the wrong direction' I want to avoid. I mean, short films, almost all they are good for is a bit of practice. They normally don't have a budget so it's not like you are using industry standard kit, and you are often working with amateurs who are trying to crack the industry the same as you. Not to completelly dimiss short films.. I recently got a position on a few shorts and I learnt a huge amount from them and made some good contacts. But the film industry is a business and not some big art charity, so if it doesn't make money it's almost worthless. Only good to people who share the same passion as you. Unless of course your short is so amazing it wins some awards at some well known festivals. This may sound crazy but I was thinking of perhaps spending a few more years making short films etc. and then making a feature. Peter Jackson done it, and his first films were hardly "amazing" (great laugh though..) Then I could get some distribution going and get some real financial interest going for me. I'm not attacking short films, I've just known far too many people who have made tons of short films and have never really gone anywhere. Kinda makes me worried that in 40 years time I might be living in a flat, single, making my short films on shootingpeople.org. I just want to attack things more head on. Anyways. Merry christmas.

Well there's that Casio 300fps camera coming out. That already rocks most of the video cameras at a similar price level and even higher.

Slight cliché of a question, but how do you actually get jobs working on these Hollywood sized films? Reason I ask is, I sometimes wonder if it is really all that difficult to do, maybe people just go the wrong way about it. People make 100 short films and expect to someday work alongside Spielberg, which just doesn?t happen. There is obviously a way of doing this. Working on the next Harry Potter movie is hardly impossible. I know we sometimes make it seem that way, but it's probably because we aren't trying directly (and we just assume it's insanely difficult). We just make films, hope to get better, and hope that our skills and experience will get us onto the sets that we want to be on. What is the recruitment workflow for these huge production companies? Do they only employ internally? How do I get a job? Thanks for any advice. I know this is a real cliché of a question, but I feel that this hasn't been directly discussed, we just dance around it all the time and share this common understanding that working on huge movies is the impossible dream and you have to be stupidly experienced to get onto one. Which I think is wrong. I just want to get past the short film stage at an early point. And cut to the chase.

I saw it last night. Liked it a lot.

To the CML!

Ok cool thanks. I was going to suggest a cherry picker actually.. but it seems there is a more specific tool. As for the lighting I'd personally say a 6k HMI is still borderline.

I'm not fussed what day we go. So whatever is best for everyone else. Infact if everyone who is interested could write down clearly what days they can and can't make it, then we can just work out what day will be best from there and set an official date. But I think we should leave it till nearer the time.