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Jeremy Russell

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Everything posted by Jeremy Russell

  1. for what it matters.. A narrative reel should incorporate portions of dialogue and actual sequences of the film. What you have now is a DP reel. If you're trying to get music video work, have a seperate music video reel as well. Watch people's reels and see how they are cutting it. For a good example of directors with narrative and music video+commercial careers, see RSA. www.rsafilms.com Watch their reels and market yourself the same. Also, get yourself your own website. It's all about branding yourself. Find out who is doing the best work in the area you want to work in, and be better than them. Jeremy
  2. For sale is a Canon Xl2, 1 year old, and used primarily for industrial videos and the latter. Comes with Cavision Mattebox and Large Portabrace case that can hold a betacam. $3000 or best offer, call Jeremy Russell at 845 313 8259, or email jeremy@jeremyrussell.net Thanks
  3. cables? i directed a 35 shoot today and the only cable coming off that camera was for the video tap
  4. Hi, The production company I work for is shooting a video in Peru, and is concerned about the performance of DV cameras in high humidity enviroments (98% humidity on most days). Does anyone have experience doing so, and what precautions should be taken, or what are some concerns that we should deal with before the trip. Any help would be appreciated. Thanks, Jeremy
  5. Joseph, Thanks a lot, I'm pretty sure this will solve our problems. As far as going for super 35, the reason that we want to shoot anamorphic is because we want to take advantage of the specific qualities that the lenses have to offer. Thanks again, Jeremy
  6. Hi, I'm gearing up for a spec commercial I am directing, and after being shot down by panavision, my DP and I are searching for a rental house/DP to rent some anamorphic lenses from. I'm reasonably versed in the types and brands available. I did some reasearch, and CSC doesn't seem to rent anamorphics, Abelcine who we are renting the 35 package from (aaton 35-III) doesn't have them, and Panavision seems to be reserving them for big budget productions. Are there any rental houses I am missing, or is there someone who would be willing to rent them to us for a weekend? My shoot dates are October 28, 29, 30. Cheers, Jeremy Russell
  7. This is the 2nd film I've seen this year that left me with an overwhelming feeling of best picture nominee. Oliver Stapleton kicked this films ass, the exteriors were breathtaking, and I was actually surpirsed it was shot in Canada. Along with the daylight exteriors, it had some of the best night time photography I have ever seen.
  8. My workflow is generally as follows: Make a temp shotlist and boards, and collaborate with my DP to get a final shot sheet/storyboards. Working from these are pretty important when working with expensive equipment/big crew and sticking to a schedule is extremely important and your AD will constantly be reminding you of that. Get through your boards/shot sheet, because if you finish those, at least youve got your sequence. Then if time permits, sit back and look at your set, move your actors around, talk with your DP and figure out what other coverage is neccesary/interesting. Good luck Jeremy Russell
  9. john, We rented a few different car mounts to achieve all of the shots around the car, and Chase Bowman, my DP constructed a rig to shoot out of the trunk of a car to get some too. We shot on an Aaton 35-III with 250D and a Cooke zoom. We shot the majority of all of the exteriors during magic hour to get the angular light and I believe for the shot through the windshield we used an ND and a polarizer. Some of the look was achieved in transfer with our colorist. Most notably on the pan shot from sunset, he brought the blue out in the sky. As for more specs, I am directing two more shot on 35 in October, and one of them is a comedic one. Thanks for the comments. Jeremy
  10. I'd like to get some feedback on a spec commercial that I directed. We shot 35mm. Any questions for my DP and I will gladly pass them to him. http://www.jeremyrussell.net Thanks, Jeremy
  11. the jib shot of justin when hes looking at tessa on the stretcher in the morgue is stunning jeremy
  12. imax rental weekend - 14k week - 30k 400ft=1 minute + i suggest just shooting 35 jeremy
  13. Nathan, Come to think of it, did you hear any bad news about our camera? During production one of the 4 pin XLR cables that connects to the battery came loose, and our AC had to electrical tape it so we could keep shooting. Has this ever happend before? I have to admit I thought we were going to have to stop shooting. It was a quick fix though. Jeremy
  14. Nathan, I met Jon, and I believe he was servicing Lance Accords 35- III when Craig was working with our color video tap. We will be in again renting the 35 sometime in September, I'll be sure to stop in and say hello. Do you do down conversions from HD? I may have met you in the winter sometime. The new Abel office is quite nice.
  15. Nathan, I was just into Abel NYC last Friday taking out an Aaton 35-III with my DP. Did I meet you? I can't remember if I did or not. Jeremy
  16. David.. I'm surprised that you say that. My experiences with 50D have been negative ones. Prepping for a shoot this weekend, my DP chose 250D, because we both agreed the footage we screened of 50D was way too low in contrast, and was in the case in all situations I saw it in. Strange.. Does anyone have any screenshots of 50D? Jeremy
  17. Something that I recently told my DP that may relate to your setup, is to try not to confuse bright daylight with high key. He immediately understood what I was saying. In your first setup, there is a lot of contrast in the room, and agreeing with David, the leaf pattern is distracting and unrealistic, but I would try to incorporate more contrast in the light coming in through the window and the subject. Although you are trying to conjur the fact that there is a window to his left, letting the bright light coming through the window motivate the fact that it's daylight outside, and cutting out some of the light inside of the room may be exactly what you're trying to accomplish. Good luck!
  18. work hard (harder than anyone else) stay focused .. people dont succeed unless they work hard, it's a value that is taught in any profession, and every aspect of life. It's no different, people make opportunities for themselves, and in turn, opportunities open.
  19. I don't think it matters in what situation you are shooting. Be it multi camera or single camera, switcher or no switcher, s-video or anything else. NTSC standards are setup for black level to be a 7.5 IRE. 0 is designated as "super black".
  20. Well that answers my question then. That helps out a lot. Thank you jeremy
  21. I read a post awhile back about some f0.7 lenses available, possibly in europe? Has anyone actually shot with these, and are they even possible to run on say a panavision or aaton 35 camera? I was discussing this idea with my DP, and we are in agreement that we want to use them for a commercial. Is it even logistical to attempt it? Anyone with any knowledge in this area that can help would be great, and I thank you in advance. Thanks, Jeremy Russell
  22. Well, Using a Nike trademark in a spec spot is along the same caliber as using one in a home video. Spec work should never be done in vain, but you should also realize that they won't eve air. If you haven't ever done spec work, you can't get real work, and that's just the catch 22. Once your spec spots are done, you just show them to producers and production companies. In some cases, I've heard of people sending spec spots to companies in the hopes that they will be purchased, but it's much easier to get work by showing off your talent to producers, not agencies. Good luck with your nike spot.
  23. Hi, I'm a director, looking to get into the ad world, and my DP and I are getting ready to shoot two 35mm spec spots. I've run into a small situation, however. I've decided to do two different spots on 35, a car commercial, complete with flatbed truck, crane, and aerial shots over a canyon, and a funny acting based spot. My dillema lies in the car commercial. I have access to a Saab turbo convertible, and a very exotic Lotus convertible, but I cannot decide which is the smarter route to follow.. My gut instinct is to go with the Saab, rather than the Lotus, simply because the demographic of individuals wishing to purchase a Lotus convertible is rather slim, in my mind anyway, at least less so than a Saab. But these commercials will never air, and will just be a representation of my ability to sell a product. Basically, I just want some opinions to help me decide which would be the best bet for me. Thank you, Jeremy C. Russell
  24. Someone said it earlier, and I don't think it can be stressed enough. You could 1st AC on 4 features a year, write 100 books on 1st AC'ing, but if you don't have a demo reel, you're probably not ever going to get hired to shoot something. Your best bet to get a reel going is to: Pair with a director or a writer, and shoot some short films, and maybe most importantly, spec commercials. They'll at least let you break into the business in some form, and work in TV leads to work in movies. You'll make it if you've got persistence, and brains. I know for a fact you've got one of them, the rest is up to you.
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