Kevin Jones

Will do, Ira. The story takes place in both GA and FLA.

Good point Gus, as they will be black ski masks.

Hey all, If you've seen my other posts on here you probably know that I'm in talks with a small, independent production company for making a film out of a script that I sent them not long ago. At first, when one of the producers said "The brief answer is yes" to my question as to whether or not my film would be in "development," I kinda freaked out (excited). But now that I have had time to cool down, I'm feeling a bit differently (nervous). This would be my first feature film, if it does happen to reach the production phase, which might not be for another 2 years. I have shot and directed many shorts, mostly in high school with crews ranging from 2-10; most were done on either GL-2s or XL-1s. I have also directed a short for the Atlanta 48 hour film project with a crew of about 25, shot on an HD camera (prosumer type, not sure anymore as to what brand). 48 hour was definitely a learning experience. I really started to hone my ability to talk to actors both when not shooting as well as when shooting. It helped me realize how to work around short time schedules, thanks especially to my producer who would call me every half hour to see where I was on the shooting schedule. But am I ready to take on the task of a full blown production of a Super 16 feature film? I never bothered to read up on books that tell one how to direct or work with actors, I'm much more of a hands on, learn while you go, visual type of guy. I have read the infamous "Film Technique" by Pudovkin, which might seem dated, but gave me a good idea of how making a film works. Now, with all that said, I'm not saying that I'm full of knowledge in the aspect of directing or making a film (especially one SHOT on film), but I do know a lot about the filmmaking process, thanks to working on shorts and reading up on the subject of filmmaking, outside of the Robert Rodriguez books and such. That's not to say that I don't think that Rodriguez's thoughts don't mean anything, I just have the belief that every film is made differently and by it's own means; that is to say, there is no real formula to making a film, let alone making a film good. I guess all this ranting must come to a series of questions I'm supposed to ask all of you. I guess I should start with: Am I qualified to make this film? I know the script inside and out, if an actor was to ask me something about a character, I would be able to answer it clearly. I am clearly nervous about the film, but what aspects of the filmmaking process should I be most nervous about? and by nervous I mean: what should I be researching the most? I have been talking to DoPs through this site, thank you, and have been looking into equipment that would be cheap but effective in use. On the subject of equipment, and this is in your opinion, what works well for Super 16? I know most of you will say "chill, wait 2 years, dammit," but I just want to be somewhat ready for what MAY come. Thanks to everybody who posts in advance. Kevin

Thanks for the info, Brian. I'm really only needing just one of the characters faces to bit lit, the other two will be wearing ski masks. And I feel that it would be better for the scene to just leave the forest (mostly deciduous) dark to heighten the tension of the scene.

I would like to start this topic back up, as I too have a scene where a long, handheld shot will be used. The only difference in my case is that it will be at night, using color film (Super 16). Any suggestions beyond what is already posted?

And to maybe add to the list, and I know I might get some complaints for this, is one of the scenes from The Dark Knight, when Batman's "Bat-cycle" weaves perfectly through two or three lamp posts at top speed before doing that insane 180 turn up and off the wall of a building. Now I have to admit, when I saw it happen for the first time in a theater, I was cheering with the audience. But when I saw it with my friend at home, we both looked at each other and chuckled a little bit. His reaction was "What is this, Star Wars?" hah.

Yea, I saw that lil' blip when checking my email, and I gotta say, I'm real glad I decided not to see any of those films, with the exception of "Indiana Jones." It's just little things like those that ruin a film for me, or at least make me think a bit low of the film.

Hello all, I'm wanting to shoot an opening scene to a film that is going to be in a forest at night, with a large fire being the only source of light. I know this is a very difficult scene to shoot and light, but does anyone have any advice on what film/lenses/etc to use in this situation? I remember a conversation I had with the director of the film "House of Sand" at the Sundance Film Festival. He had shot a scene in the desert at night using nothing but a fire and some reflectors to get the characters faces lit. Can the same be done in a dense forest? Also, please note, I don't really want to shoot it as Day-for-Night. Oh, and the film will most likely be shot on Super 16. Thanks in advance for any info. Kevin

Will do, Matthew.

Sorry, I meant to actually say, "who here wants to help me?" An answer to your question Marcus is: Unknown as of now. The next few weeks may tell. But, as I said, the slate for the prod. company is about two years out, and the story is aimed for a spring or summer shoot, so it could be as early as Spring 2011, or could be as far out as Summer 2012.

I apologize, you'll have to forgive me, as I was going off of no sleep last night. What I really should have said is "anyone out there wanna make a movie in GA?" hah. I'm not looking to emulate someone's previous work, though. I think the most important thing for a director to do through his work is create his own style; a style that is honed with the help of the cinematographer(s) he uses in his films.

-Moved from Cinematographers forum- Hey all, I'm in talks to with a production company to make a film that I wrote. Though it's still considered in the "Development" stage, and probably will be for the next two years, I'm trying to get a good amount of info into my mind about who and what I want to make this film with. So, does anyone out there know some popular (or unknown) cinematographers who are good at makin' a film look gritty, realistic, etc? I'm looking to shoot it on Super 16mm with Aaton's A-Minima and XTRplus cameras. If you know any DOPs who have shot on these cameras or in this format, don't hesitate to mention them as well. The budget for this film is looking to be as low as $500,000 USD, but the production company has said that they can produce a film up to $3 Million. Any info is greatly appreciated, and thanks in advance. Kevin

Oops, didn't realize that there was a guideline against posting things like this in this forum. To be moved and discussed in Students and First Time Filmmakers forum.

Another question: Of course, I want to use as much film as I can with the film I did buy, so would it be fine to shoot at 18 fps, knowing that there might be a flickering problem when I transfer it to MiniDV (to edit off of), or should I just rehearse the timing of the scenes out as much as possible and shoot at 24 fps?

I've been trying to finish this movie for weeks. Not that I dont dig slow or long movies, I actually love them (Magnolia is one of my favs), but something would always come up and I would have to leave the room. But I saw it complete last night and I'm still awake thinking about it. Everything clicked for me. And Deakins is, well Deakins. Racing thoughts right now, so I don't quite know how to put it all down here. All I can say is "wow." Movies like this make me want to be just as creative, if not push to be more creative. To me, that's what makes a timeless and amazing film.