Salik Shah

Hi guys, I need to buy a movie camera to shoot some scenes for my film. I heard from some friends that Canon D7’s video camera is really good. If you have used Canon D7, please tell me what are its limitations as a video camera? I want to use footages shot with it in the final film to be shot with a better HD camera (hopefully! :unsure: ). Or should I get a handy camera instead? Any suggestions? Waiting to hear from you :) thankx :rolleyes:

Well, I am probably going to assist someone soon. And I have absolutely zero idea about money. It's going to be a tough time without pay. I don't know. I can't tell before I actually start working and get paid!

James, perhaps what you say is one of the fundamental criterions of filmmaking. But I was wondering if there was any successful experiments where an auteur used the idea of audience activity to the extreme? There are a few brilliant pointers on the other forum: http://www.theauteurs.com/topics/2227/comments Audience want a ride. Ok, I'll drive but since their destination is in my hands, I want to be a little more careful. I don't want to leave them nowhere. Audience don't like to think, they just want to be shown. But some films talk to you and leave you thinking. They entertain, they amuse and you meet someone you know or would like to know or meet yourself on the screen. So the idea of audience activity makes sense and has been an underlying aspect of these films. Although activism isn't my goal, I want to tell something meaningful through my work. And if I can make them participate in the medium, it will give me more power as a director. It's all about playing with the viewer's mind after all.

Yes, Andrei Rublev to some extent. But I'm not satisfied. http://www.theauteurs.com/topics/2227/comments "I was thinking in terms of the maximum possible extent of interactivity between the film medium and the viewer. In drama it’s possible to include the audience during the performance, but is it was possible on film? Has anyone done similar experiments on the cinematic medium? The POV shot of the balloon rider in the first part of Andrei Rublev makes us curious about the rider. We begin to imagine. Let’s take a radical departure from here: let’s expand this short into a full-length feature and leave a void in the film — written for the viewer — which only the viewer could fill. It will be like a metafilm experience but real. Is it possible? Can we structure a film like this? Is film really that inflexible? I’m trying to make my question clear — but words fail here. Even films seem to fail to do what we are discussing about here."

A film, without any visible protagonist, plays with the audience and forces them to become active as the invisible protagonist. The audience feel s/he is there, s/he feels part of the story. Normally the audience can connect to the film through the characters playing on the screen, but is there any film that keeps the gap which only the audience would fill?

Sigh! :lol: