Christopher Harrow

One thing I think I should add. A Director's job is not knowing how to do your job. It helps if he knows every aspect of film in side and out. But, that is not his job. His job is to bring together the best people suited for their varying positions. His job is also to know how to bring out the best in all his cast and crew, and make sure that the STORY is taken from the screenplay and made evident on the screen. Honestly, I think the best directors know how the film will look before its done, and stay true to the course throughtout. I believe that is called VISION. But, the only downside is, just because you know how it will be when completed, doesnt mean that vision is good. I guess the lesson here is, never get with a director whose VISION you don't trust or respect. Either by working with him, or previous work done. That will save you alot of headache.

Hey I forgot to say thank you! I have some questions about using Mattes if anyone would know about this....or direct me to someone or some place where I can get the right info. 1. I have a Matte Artist on hand, but we are shooting all on location, what crew member do I need to composite the mattes into the film? 2. I know locked shots work best for mattes, are there any other general tips I should know? 3. If I were to take a green screen with me on location, how big should it be, ie width and length? Any and other advice and comments will be heavily recommended. I am big fan of film, Blade Runner, and I will be trying to emulate the approach of that film in the way they use mattes and special effects. Thanks!

Hey all, Stumbled upon this wonderful community and I am excited to see what I can learn from you talented DPs. I am a beginning director in Atlanta, and I am seeking to make one of the most evocative, unique and compelling shorts that I can. It is a sci fi, dark fantasy, film noir project, that is deeply meticulous in its themes and lighting transitions. I haven't hired a DP yet, though I do have several prospects. I would love to know going into it, atleast a basis of how to achieve the specific imagery. If you guys could assist that would be amazing. There are 3 major color and lighting transitions in the short. 1. A dark, brooding industrial plant. I wanted a sickly green, fog and haze riddened atmosphere. Like something out of Blade Runner. Here is an example. By the way, the scene primarily takes place right outside of it, as our main character is leaving work. Something like this in color. http://img.photobucket.com/albums/v351/Won...lowres_copy.jpg http://img.photobucket.com/albums/v351/WonderCraft/MP13.jpg And something more like this in lighting and atmosphere. Wet, alot of smoke and haze, etc. Hard, brooding silhouttes in the background. Not quite as severe in brightness though, we don't have a row of headlights. Monochromatic, oppresive, slightly melancholic. http://img.photobucket.com/albums/v351/WonderCraft/DOCK.jpg I guess I will just use this for now, and include the other transitions at another time. Thanks everyone ahead of time for their assistance! -Chris