Josell Ramos

Agreed. There's something about how organic elements bind with story synthetics in films i've seen by Mr. Chris Doyle. The outcome is intrigue in what we the audience witness as story unfolds. Respect.

thanks. Hi-speed it is. And it fits perfectly with the tone of the story.

Have been curious into what stock if at all Mr. Chris Doyle used on The Quiet American. It almost feels like digital grain, HD? THxs

Thanks! The film is a feature Thriller Action Drama. Locations in the script are limited to a field house (when we zero in on this location in Calabria) witch some ancillary spots around town. The story is basically a father and son tale -- criminal meets the innocent. Sorry to be so vague, more will be revealed as we dive into pre-production. Looking at HD digital 2K possibly Red or other. Also looking for a DP that could bring in his crew: gaffer, electric etc. since this is more of a remote local... Crew doesn't have to be from Calabria but should be comfortable adapting to the production location. I will look into the suggestions above. email you directly. thanks again! Josell

I'm prepping a feature action-drama to be shot in Calabria, Italy. I'm in the process of filling the crew list -- missing a top spot -- DP. Are there any Italians (or not) here that know of or have worked with a talented DP in That region or near by? Calabria has some breathless scenery, incredible wides.

the 35mm camera used was the ARRIFLEX LITE. It's a beauty. The thing is only 11 pounds, jeez. From the footage that i saw it took up more than 50% of behind the scenes shots. not sure if the full film had more then 50 though... the canon 5D2 is great, though you need to use work arounds to get some manual controls of ISO, shutter and aperture. I just used it for a short I shot.

Great film. I just saw behind the scenes footage and saw what is not a SI-2K. Wondering what was the other camera used for half the film? From what I saw it looked like an Arri 35mm, could be wrong.

[in true Canadian fashion, the Toronto Film Festival said no to this short, and Sundance said yes. It's called Captain Coulet (sp?) Any one at Sundance next year, should have a look. From what I know Toronto doesn't accept shorts outside of Canada. Did they change the rules?

The relationship between DP, director and production designer are the nuts-n-bolts of the film. They have to come together as one. If a link is off, the film could fall into jeopardy, as in pissing off the producers or the gods above and diminishing the rhythm of the crew. ON hiring a DP, my take is to break it down to your top two or three then take them out for a scene, prep. With this op, you could see how he works and how ALIGNED he is to your creative vision. Ask your self questions: does he start improvising without at least consulting with you, does he get himself out of holes and come out looking nice? is the final look the take? I once had a DP with a great reel but when it came down to shooting, the guy became thunder. he practically changed the shot list, over-rode my creative vision, and missed 2 crucial shots. I say when you pick one, have long coffee times, talk about as much as you can and if he doesn't have some kind of track record, test him in a real situation, as mentioned above, that day will save you lost sleep and $$$$.