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Douglas Sunlin

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Everything posted by Douglas Sunlin

  1. The obvious answer that comes to mind in this case is back-lighting, at least in the case of what the music video has in common with Moulin Rouge.
  2. Would it be easier to shoot a still and use that in the film for a bg?
  3. I don't know, if I had a some flow going, I'd kick it down to my people. At least offer a percentage, that's how startups in Silicon Valley go.
  4. I guess it depends on how much action you want the relfection to do after the real guy leaves. If you just want him to stand there, and cut after the real guy leaves, then you could use split-screen and freeze-frame. Or maybe even reverse.
  5. It's remarkable how dark they kept the background considering that it was a peaceful domestic scene. Probably going low-key to foreshadow?
  6. I worked in Navy Public Affairs in a previous life. Yes, get in touch with the public affairs officer. Emphasize your professionalism and they will give you the same back, I am sure.
  7. It's in the same league as burning your bridges behind you. I doubt if you really want to develop that kind of rep as a filmmaker.
  8. I just saw an XL2 for sale right next to a Sony HD camera, for exactly the same price. Am I wrong to thing that this signals a price correction after the holidays?
  9. Perhaps the question might instead be trends and fads. Direct overhead shots have always been possible, and have probably been used since the dawn of cinema (correct me if I'm rwong), but it has been cropping up in a number of films.
  10. There are 45 books in that list. Maybe someone could volunteer to pare that down to a few (less than 10) of the best books?
  11. 1966 Bell & Howell ad: http://www.tias.com/cgi-bin/google.fcgi/itemKey=1922939517
  12. I would think it would be useful to see the dailies to determine if you were getting effect that were after, before you consumed your entire stock.
  13. I will try to ask more clearly. If her face is in the water, facing down, how will her face be illuminated? I was not suggesting that you put a light under the sink. You will have to rely on light entering the sink from above and bouncing around inside the sink until her face is visible.
  14. Would you be lighting her face from above and expecting a reflection in the plexiglas to illuminate her features?
  15. Is it possible that some of the ext shots of the car were done in time lapse as well?
  16. I'd go digital, and I am. Reasons: 1. Fast feedback; you can experiment with various techniques and settings and see right away if they work. 2. Film and processing can be very expensive, especially with 16mm sound.
  17. Julia, I have been having good luck advertising in Craigslist. Stress that you are looking to make a quality production and not cutr corners. Many times one good contact will yield new contacts.
  18. Hey, that's an idea. If your character is going from bright light to darkness, wouldn't you start with "too dark to see" then lighten it up as his eyes adjusted?
  19. I haven't used Final Draft, but if I understand correctly, it's more than tabs. If you're in Word you should be using Styles instead anyway. http://www.finaldraft.com/products/final-draft/index.php
  20. Do you mean make-up? Try this: http://www.themakeupgallery.info/
  21. My largely amateur contribution: Don't make your martial artists go less than full speed, just for the sake of the camera. But I have seen film/video shot where the motion was slower than usual (for safety's sake) then was made to "slo-mo" in post which disguised the fact that the original was slow anyway! But it would be refreshing to see real movement that taxes the ability of the camera to keep up with it. This is one of my passions, so I'm looking forward to seeing what the pros think.
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