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DavidSloan

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Everything posted by DavidSloan

  1. Hmmm...if you're proving a production with unusable stuff you probably shouldn't be shooting.
  2. Thank you, Wendell. I'll have to check this guy out.
  3. I'm quite aware of this, doesn't make it any less silly.
  4. In "Underneath It All," the last part where Gwen jumps on the bed is freaking amazing. One of the best lighting jobs I've seen in a music video. Off the topic but does anyone know who shot the Green Day video with the Stan Brakhage-like, blots of paint?
  5. Btw, the indie filmmaker label is pretty damn broad. It can mean anything from a 5 million dollar film on 35mm, to a no budget DVX film. I recently worked a short film with explosions, elaborate costumes, huge rental package, telecine session, etc...all the perks of a major film but in a short. I also occasionally do crap like 3rd electric work on small features, and music videos that use all the toys of the big boys-Panthers, ARRI 535s, Fisher dolly, genie trucks, 10Ks and better, etc, etc. The point is indie doesn't mean no money...maybe in my case it does :angry: but in general indie films have good stuff to play with. People on my level, who shoot S16mm, and DVX, don't even count. I'm not even an indie filmmaker. If you haven't had any of your stuff distributed, or played in major festivals then you're not even in the mix-you're trying to become an indie filmmaker.
  6. I wasn't suggesting to put a DVX on a panther...With the Panther I used a Moviecam Compact 35mm. I wasn't the DP, btw, I operated the jib. I'll check out the Jony Jib. Thanks, Rik.
  7. Has anyone seen this most disturbing picture? The story is about a woman who receives an eye transplant and can now see spirits. They don't use any special CGI, just plain old editing, sound, and camera angles, and it's extremely creepy. Cinematography is especially good and is integral for the story. Of course it's currently being remade *yawn* so do your self a favor and check this film out, before a crappy remake spolis your appetite. The Eye
  8. What I always wanted to know about that film, is what Soderbergh used for the eye lights.
  9. Is the light supposedly coming from the headlights, or the cars of the train?
  10. I shoot S16mm all the time and have never had a problem with focus. I don't use angeniux, though! ;) Stick with Zeiss if you're gonna go use a zoom lens. The 11-110 is superb.
  11. Don't be a spolied credit hog, it's childish and very student like-only on student films, or Vincent Gallo films, do you see "written, directed, edited, story, score, camera, etc....by Joe Blow" No one likes to see that in the professional world, it's silly. My other favorite is: "A film by...." I love that, it's like none of the crew was there, only this person. Pick what you want to do and do it really well (isn't that tough enough?); this whole one man show never works out. If you insist on trying, go ahead I can guarantee it will be a wasted effort and a big waste of money.
  12. Well if you don't want your actors to squint, it seems that the most logical solution is to not have them facing the sun. As far as the shadows from the 12 by and 8 by, maybe you can direct them out of the camera's view, or go in tighter on faces. HMI fill is great, esp if it's a really sunny day causing harsh, dark, contrasty shadows. Good luck, m8. I'm sure some of our primo members can advise you.
  13. This thing just looks so pathetic lol I've used Panther before, and I usually always put the camera on a Long Valley 7 when I shoot S16 mm, for enhanced movements. This thing looks like a joke...maybe a wedding videographer can find use for this, but it doesn't seem suitable for serious work.
  14. Sounds like you did some interesting stuff, Jarin. Maybe you can share some images sometime. Good luck.
  15. Who are you kidding, you want the DVX to look like 35mm negative? The closest thing you can do is use the PS Tecnik, which will allow you to have film like depth of field. You'll lose 2 stops though, and it sucks for hand held. I usually always stack a bunch of filters on the DVX to make it look "unique." One thing I do love about the DVX is how much you can play with filters. Good luck
  16. Hey J, thanks a lot for posting the diagrams and the pics...very useful and informative. Keep up the good work.
  17. Next time you post, please use spell check. I haven't seen Mean Creek so I can't comment on your comparison of the two films (compaing films is silly, in the first place), but I want to say a few things about the cinematography of Elephant: first of all, one of the reasons you would interpret it as "plane, and flate" is because Savides was going for a natural light approach. As a Harry Potter fan, you're probably accustomed to watching films with elaborate sets, stylized lighting, saturated colors and high contrast images that really pop out...everything Elephant isn't. Another fact about Elephant is that Savides' lighting approach on Elephant was the most practical way of lighting long takes with A LOT of camera movement. It provides maximum freedom for the actors and camera operator. Savides is a very special DP. He has taken on a kind of mythological status for most young DPs such as myself, who are interested in artistic, and risky cinematography, over tradition. I think Savides is my generation's Gordon Willis. Here is a DP who shoots multi million dollar features and makes them look like obscure, Eastern European, art films. Gus Van Sant, and Savides have together brought the long take style to America, feeding from filmmakers like: Bela Tarr, Chantel Akerman, Tarkovsky, Muratova, and Janco. I can only imagine the level of work Savides will be doing in 10 years from now...he just keeps getting more, and more innovative. Thank goodness for contemporary DPs like Savides, Doyle, Cameron, Beebe, Kuras, Agnes Godard, etc...these people keep cinematography fresh, bold, artistic, and dangerous. If all films looked like Harry Potter, I'd quit.
  18. Thanks Phil, that was very informative. I recall the gaffer of The Crow saying they shot with a sepia filter, which they timed out, just to make sure that no blue was recorded on the negative.
  19. Has anyone ever used this thing? It was suggested to me by a friend, but when I checked it out online I got the impression that it's a gimmic, and only used by newbies. http://www.cameracranes.us/cobracranes/crane2plus/
  20. There is something about video that makes me want to go absolutely crazy lol I would never even think about using the filter combos I use on the DVX, on film. Video just yells: "abuse me." I'm researching different filter combos at the moment, for a gold tint.
  21. The man has superb taste. Suprisingly, I've seen all those films, and many of them are big inspirations to me, as well.
  22. This is probably pretty basic, but I couldn't find any info on it. I wanted to know about spec commercials and the idea behind them? From what I understand it's when a company makes a non commisioned commercial for a certain product and then tries to sell it to the brand. Is this the idea? Are there certain avenues one should take when trying to make a spec commercial? Thanks
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