Jump to content

Handoyo Setiawan

Basic Member
  • Posts

    7
  • Joined

  • Last visited

Profile Information

  • Occupation
    Other
  • Location
    Toronto, Ontario, Canada
  1. Hi everyone, I'm an Asian-country national, educated and live in Canada for almost nine years. I'm currently researching on US Labor Law on alien trying to earn eligibility to work in US film industry. However, so far I have not found anything specific other than the following steps: 1. Follow through general job-search procedures (contact and make deal(s) with potential employers). 2. Ask the interested employer to fill I-9 form (Employment Eligibility Verification Form). 3. Fill and send the work-permit application; attach the other necessary documents for the application. Is there any other steps I should be aware of? Thank you for any advice or knowledge you can share. Have a good day. Regards, Handoyo Setiawan (Kevin Liem)
  2. Thanks for the replies. You've gotten great answers there. On the paradigm that good cinematography will 'disappear' into the movie, I'd like to hear your comments on the cinematography of Frank Miller's 300 and Sin City, and some of Claudio Miranda's videos posted on his website (www.claudiomiranda.com). I love all of them all and enjoy them immensely but honestly all the while I was watching their stuff I personally am watching their choice of colors and filter like I am enjoying a great artist' painting since it's not normal to have those colors in real life. Are things such as these considered as 'good cinematography' in that sense or is this something else? Or is there more elaboration upon that paradigm?
  3. If you're looking for something beach-y...eh, I think I need to reword that. If you're looking for a good looking beach that have good looking shops nearby, you can try Whiterock in Greater Vancouver area. It does have hills with lust vegetations and there are places of other atmospheres nearby as well, so you can expand your film's scope without much problem. I'm not sure what kind of administrative works you have to do to get good shots around Vancouer, but usually my friends' groups just go and shoot. No permit no problemo. (As long as you don't require much set-ups, that is) But, I guess you're already set for Seattle, eh? Anyway, good luck.
  4. First off, I would like to say I'm really amazed at the DP's websites. They all contain amazing works and some even give a bit of lessons on how to do their work. Now, I have a question about how to maintain a good professionalism when you have a hunch -- which may or may have not been proven at the time -- that a potential client is not someone whose works/company you would want to be associated with? I have read about such how to deal with such things from other business areas, but not the one in media/movie industry. I imagine that you have to deal with more image-related pressures than any other professions, right? Would you get sued by doing such refusal? Thanks. Kevin L (Handoyo) PS: I'm not trying to discuss about how to be self-righteous here. It's just that there really are some companies, like Enron and another big megastore, whose deeds are 'killing' people out there.
  5. Wow, thank you for the fast replies, Mr. Doe, Mr. Lewis and Mr. Keth. Yes, I reckon general audience doesn't have a clue to the intricacies of cinematography. Most people in my generation seem to prefer A.D.D.-like fast-cuts to a beautifully shot scene. So, observing from your answers and what my professor has taught me, I guess that authorities in the film industry works much like those in politics, eh? Something Machiavellian because such positions depend on fame, personality and budgetting rather than pure talent, excellence and purpose? Also, I've scoured around a few more books and the internet and found this article on wikipedia.com: http://en.wikipedia.org/wiki/Film_lighting It says that DP's often have to deal with his own personnel and logistics. How do this actually work in the real world? I mean, doesn't film studios have one central logistic person for all of the departments of each film (line producer or PM?) or does each department handle its own needs and later give the reports to the PM? Thank you very much for the assistance. Kevin Liem PS: Also, as a side note: when someone imitate your special cinematography method/style, for example, does he/she need to credit you or at least mention your name in the 'special thanks' list? (Boy, that would be a really long list, I suppose).
  6. Hi everyone, how are you doing? I would like to hear some of your comments on Poon Han-Sang's works (Kung Fu Hustle, Formula 51, Jackie Chan's Who Am I?) especially on his recent work, Jet Li's Fearless (2006). I have been looking around for people's critics on his works, but most of them cover more on Jet Li, the director and the movie's story plot rather than Poon Han-Sang's cinematography. Thank you for any comments you're going to post. Kevin Liem (Handoyo S)
  7. Hi everyone, my name's Handoyo. I'm a fourth year media communication student in Greater Vancouver area. I'm not sure if my question really merit your top-professional attention, but I'll ask anyway. I need to ask about how people in Oscar awards and movie critics actually evaluate on a movie's cinematography. I have learned about editing, directing, acting and cinematography but I really have difficulty in how to actually do criticism on them, especially cinematography. I mean, I know about the different movie angles, camera movements, cuts, etc. But, how do 'best cinematography' award actually works? (Doesn't every film has different needs and thus different cinematography styles to properly capture it? If so, how is it possible to claim one style is better than another, much like how is it possible to compare if one hit by a boxer is better than one hit by a Southern-Shaolin style martial artist?) Also, how do you differentiate between the different responsibilities of directors and DP's since both of these two positions seem to overlap a lot. Who actually make the last call on how to lit and shot a scene since in all of my student projects with my peers, the two really isn't distinguishable at all (and thus, there had always been much authority conflicts). Additionally, how do you distinguish between the shots that are taken by the cinematography department and those that are taken by the editing department since I recall "Romeo + Juliet" editor explain that the editors added some cutaway shots on their own call. Do editors make the last call on how to edit the shots and how to color the movies? My questions are perhaps very basic but they have almost always been a knotted-drag among my film project groups. If someone can explain how such things work in the real movie industry, that will be great. Thank you everyone.
×
×
  • Create New...