DavidSloan

Shooting on a DVX will definitely not make your film look very "grand." The project I worked on was shot S16 on a slow V2 stock, and went through a telecine job, so it looks quite professional. But the moment you say DVX, and even S16 in most cases, you're usually talking student level. You should really think about 35mm, or HD, if you want a higher quality product...and telecine is a must.

Can you give us a rough budget and what format you plan to shot on? I recently worked on a short film with special fx, and tons of gear, and the producers were able to pull it off for about 10k...lots of favors, and freebies.

Per foot :)

It's hideous!

Let me know, when you find out.

was this some kind of class project?

Thank you :)

Does anyone know who shot those ads? They kick arse.

Actually 12k is pretty meager for a music video, Phil. I'm shooting a music video in May for 20k and we're still struggling for money. Once you add up people's day rates, catering, rentals, post, location fees, transportation, film stock, props, etc, etc....that money goes *poof*

I still don't get why a moderator isn't shutting this down, and banning this guy!? :angry:

Sunlight and 100 watt bulbs? I hope you've worked out the color temp issue! Also, if the window is in the shot, it's gonna be blown to all hell, and unless you want that you should consider 85ND9 gel for the windows to correct for the color temp and bring down the sunlight to a 2-3 over, range. Also, the practicals are gonna look awfully warm, and probably won't look good on skin tones, at all. You're better off taping daylight Kinos to the ceiling, or bouncing HMIs, if you're gonna use daylight.

You'll be laughing about this in the years to come! No sweat mate. Sucks about the date though...was she cute?

Polecats are trash...completely unrealiable gear. Go for a wall spreader, a la speed rail.

Wow, you consider telecine rates of $350 per hour as reasonable? hmm...you must be loaded, buddy. ;) You would only go to miniDV, or DVCAM, or one of the low res formats with the intention of going back to the lab with your EDL to do a conform (another $350 per hour). No one shoots S16mm, or 35mm, goes to miniDV, and stays on mini DV! Unless you're a 1st semester film student. :ph34r:

Funny that you mentioned comics, Dan...as I was just about to bring it up. Recently I've been turned on to the works of Frank Miller, and Alan Moore. The Watchmen, in particular, by Alan Moore, has some incredible compositions, and editing. Also, the way Contemporary comics structure their storylines is very experimental, and unique.

Do we have any Casper David Friedrich fans in the house? I'm obsessed with his Sokurovesque images. more

Thanks a lot, J. I see what you mean. Looks like a pretty cool effect. Can be useful as a POV of someone drugged up or something. Thanks

So I read on the 35mm board about some technique where you loosen the lens and jiggle it during the shot, and I'm just wondering what is the proper way to do this, and what is the result? I have a shoot coming up in 2 weeks and I figure I'll do a test with some of the short ends. Thanks

DV movies with atrocious lighting can still be good...I saw Manic last night and liked it, a lot.

It would really be nice if mr Tyler gave you the boot. No one wants to read this disgraceful trash.

I haven't seen this film, but Johnathan Rosenbaum wrote an interesting review of Sideways, as part of his top 10 of 2004: Rosenbaum 2004 I'm somewhat reluctant to see this film because I have a feeling it's gonna be a major disapointment. I remember when American Splendor was all the rage and when I saw it I thought it was rubbish. I'll wait for the DVD.

Is there a place to read these chats? Thanks

DAYUM those babes were HOT! :lol: Good work, sir!

Thanks, a lot, J. That was quite useful. I just ordered the film from Amazon. :)

Here is a thread I started a while back, on Par 64s