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Kevin Jones

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Everything posted by Kevin Jones

  1. 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
  2. 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.
  3. 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?
  4. 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.
  5. 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.
  6. 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
  7. 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.
  8. 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.
  9. -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
  10. 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.
  11. 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?
  12. 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.
  13. 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
  14. You guys are lucky. The theaters in my area didn't buy any reels of The Wrestler. I'll have to wait for it to come out on DVD or something.
  15. My guess to why he prefers it is probably because he must've tested it when shooting one of his commercials, and then fell in love with it.
  16. I thought in the end that everything clicked; the direction, the acting, the set design, sound design, cinematography (of course). But the one thing I think it lacked was a screenplay that delivered at the same level as the rest of the other parts of the film. Granted, Eric Roth is a grrreat screenwriter, but I felt that he was missing....something. I just saw Button yesterday, so I'm still trying to decide what that "something" is. I'm planning on going to the theater again to look at the film closer than I first had, and I guess in that way the film truly succeeds. I don't really listen to Roger Ebert, but he had said in my local paper that, to paraphrase, this film is one that people will NOT want to see a second time. In a way. he's right. I think I'll be seeing this film MORE than two times, because though the film's screenplay might be lacking in some respects, The rest of the film works beautifully. And in that way, The Curious Case of Benjamin Button is a miracle of a film, because most films that are lacking in one aspect usually crash n' burn because the other parts of it can't lift the film up enough to make it really good. I am hoping that this film gets some award for Cinematography, though I know that awards don't usually mean anything. I just feel that, with this film's cinematography being so good, and with it being shot mostly on the Thompson Viper camera, digital cinema finally deserves to be honored in the highest regard. I wont really comment on the "film vs digital" war except that every filmmaker has a choice. Well, they have MANY choices, but when it comes to format/medium, it all depends on what the desired effect is that the filmmaker wants, and what format he/she feels will help get them there.
  17. For a first time on the RED, that's a pretty fine looking spec. The lighting seems balanced, the colors are saturated. Very film-like to the eye. I just took an interest in the RED no more than a week ago, and from what I've seen here and elsewhere, it looks like a very good camera system. Keep up the good work! Kevin
  18. So I finally got the manual for the Yashica Super 60 E, and I found out that when I have film stock in the camera, I can lightly press down on the shutter release trigger, setting the correct exposure and locking it for the shot. Then I can press the trigger all the way and get the shot I need.
  19. Hey, I know of a lab in Marietta, GA that does have a Wetgate system for Super 8 and 8mm. Here's the link to their site: www.posthouse.com
  20. Unfortunately, it will not allow me to change the f stop on the camera. Its an auto iris. I finally found an authentic manual for my yashica on ebay, and will be getting it soon. Hopefully it will have further info on it other than the info I have already gained from super8wiki.com
  21. Hey all. I'm a director about to shoot a super 8mm short film using two different stocks for two different situations: KODAK Tri-X reversal 7266 for outdoor, "reality" scenes, and KODAK Ektachrome 64T for indoor, "imaginary" scenes. To note, the outdoor shots will be looking into a house from some long shots leading up to closer shots, maybe even from right outside the windows of the house. Also, all outdoor scenes will be shot at night, meaning all light will be coming from inside the house. I am shooting this on a Yashica Super 60 E (electronic) super 8 camera. I am looking for advice on how to light these "reality" and "imaginary" scenes. I am especially wondering how I can get detail from a long shot outside the house looking in. See, I'm worried that if I use too much light inside the house, then the subjects I am trying to catch on film will be lit too much and therefore not seen on the end product. Keep in mind that I am trying to not use the zoom function on my camera, rather I will be getting closer shots of the house as the film's story progresses. Also, I am needing advice from you guys on how to properly use the "backlight" and "spotlight" features on my Yashica camera, if I need to at all. One shot the comes into mind is a close up of a woman's face looking directly into the camera while a halo of light coming from a bedroom window glows around her head. Keep in mind fellas, this will be shot on the Ektachrome color reversal film. More advice is needed on the subject of filters. Since I will be shooting outside looking indoors, I need to know if I have to use my built in filter (I believe its an 85) or other filters. Again, to be specific, I will be shooting outside looking into a kitchen which has Fluorescent lights. But I am shooting the outdoor-looking-indoor scenes on B&W reversal, so maybe filters dont matter much. If thats the case, then direct most of your advice on what filters I should use for the indoor, color reversal scenes. All will be shot in a bedroom that has normal, non-fluorescent lights. The aforementioned shot (woman with halo of light) may be shot with those cheap, ACE hardware lights (if you know what I'm talking about), or I might just use the sun's light through the window. In either case, which filters should I consider using? And to add something else, I have been reading from many a super 8 filmmaker's sites that, though cinematographers love to use their external light meters, I should consider not using one because most Super 8mm cameras (including my Yashica Super 60 E) have odd exposure logarithms, the point being that if I were to use an external light meter, it's reading might not be the exact reading that the camera itself has. Plus, I dont have an external light meter and dont really have the money for one, mostly cuz I'm saving all my money for the processing and transfer of the film to miniDV. I know this is a lot of stuff to get advice on, but I want to make sure that the money that I am putting into this film will be money well spent. Plus, I want to make a good lookin' film, but hey, who doesn't want one? Thanks in advance to all those who help.
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