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Charles Talbott Jr

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About Charles Talbott Jr

  • Birthday 09/25/1975

Profile Information

  • Occupation
    Director
  • Location
    Baltimore, Maryland
  1. Since both Star Wars VII and Jurassic World will be shooting on film over the digital alternatives, I was wondering if you guys knew of any other high-profile movies shooting film? I assume Nolan's Interstellar and PT Anderson's Inherent Vice are. Any others?
  2. Doesn't NYFA have courses at Princeton? Maybe a little closer to home, yes?
  3. I think all aspiring filmmakers go through this, very frustrating, situation. If the students in your course are not interested, talk to your instructor. He/she may be able to get you in touch with previous students that are still in the area. If not, go around to other local community colleges or universities and talk to the instuctors there. You need to be your own PR person. There's no real way to get the help you need without advertising yourself and networking. Have you tried getting work in the field? Getting work as a Grip or PA might not be what you're looking to do forever, but it pays and you'll meet plenty of serious film/video professionals. Like David said, if you give your location in your posts, you might even hook up with people from this board. Persistence is the key to success.
  4. Steven Soderbergh has shot many of his own films using the pseudonym Peter Andrews. Also, David Fincher was a special effects cameraman for ILM (although not a DP, it's still interesting...he has a great eye)
  5. You know, I just re-watched the reel and it is a dissolve from shot 1 to shot 2. Sorry. I'd cut that shot and transition to something else if possible. Cheers.
  6. There's some really nice shots in there, Davon. You're first and last shots of the reel are very strong, but I would remove the second shot from the reel. The first shot is very surreal and then, "smack", you're back down to earth. It felt a bit jarring to me. Maybe try a dissolve instead of a cut if you're married to it. I'd also trim the "mint" montage down, I felt it was repetitive. LOVE the shot of the guy by the payphone at the truckstop...well executed. Hope this helps a bit. Make sure to post a final version if you change anything. Good luck.
  7. I love the shot of the kid running across the street at the beginning, and the title at the end when the book is dropped down. Nice touch. As far as the lightsaber shots, I like the inclusion. Having (at least partially) dealt with special effects in your work could be a plus. Too bad there isn't more of that type of work represented...then it wouldn't seem out of place.
  8. Great job! I'm with Lee...the close ups on the singer have a really nice quality. I would have dropped the titles off after establishing what each setup was. It's a bit redundant on the subsequent shots to still have "Model United Nations: Russia" on the fourth or fifth go-round. Otherwise, I'm sure Wes Anderson would be proud.
  9. Thanks, guys. So...essentially, primes are usually sharper (given the same aperature setting under the same conditions), have better minimum focus distance, and better under low light conditions (because you can open up the lens more). Does that sum it up well, or am I missing something? Thanks again for the info.
  10. I feel silly just asking this, but if I'm using a good, sharp zoom lens (let's say a 10-100mm)and I set it on the 10mm, is that going to give me the same look as using a 10mm prime lens? Again, if it's set somewhere else on the lens, say 50mm, is that consistent with a 50mm prime? If so, why would anyone use anything but a great zoom? If not, what type of differences would I see between the primes and the zoom? Thanks for the help.
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