jordan kersten

Check your e-mail...

If anyone needs music written for you'r film or know someone who needs music, look no further. I can tackle just about anything. Experienced in jazz, rock, blues, emo, anything in the music scene. My real passion is full orchestral compositions, dramatic, sad, eerie, whatever. My influences include Bernard Herman, Danny Elfman, Hanz Zimmer, James Newton Howard, John Williams, Leonard Bernstein, Rachmaninoff, Tchaikowsky, Howard Shore and many, many others. Contact me by email for demos: jordankersten@charter.net

This is the off topic category...

Get any MIDI input device, a strictly MIDI board will cost about $300.00. Then I would check out the Gary Garritan sample libraries...they are amazing. As far as usuing a keyboard for composing, don't, but if you do, get a Yamaha MOTIF, in my opinion, it has the best samples as far as quality goes. If you get a samper program, like the Garritan, for example, you have so much control over what you do (number of orchestra players, bowing up or down, articulations, etc.) and the samples are so accurate, you can get very close to an actual orchestra.

Goddamn you are cynical, Phil, why the hell are you in the film busniess if it's so bad?

Love these music biz metaphors...i have much experience in the music biz. You guy's really think it's harder to make it in the music busniess? If so, I have no worries, hehehe

I'm sure cinematography is like any other creative occupation/art: sometimes you get rich, sometimes you you don't make enough to eat, and sometimes you make just enough to get by. Sound about right, guys? I dunno, because I'm not actually doing it, so you tell me...

AAhh, now these are the kinds of tips I am looking for, thanks...

I realize this. I and I know that passion is the one and only reason I would want to climb the crappy latter to the top....my question is not what the journey is like, but how to begin the journey and how to handle it once I get goin. How do I do it smart? How 'bout some stories about chances you guys had to take, choices you had to make, roads you had to travel down, etc....

Hey, everyone, been awhile since I've been on buuuut I'm back with a new discussion. Awhile back I started a topic on making a living as a cinematographer that caused quite a stir. Well now I bring to the table, what it actually takes to become a cinematographer. Good busniess sense? Passion? Kissing ass? I'm sure there's a little of all this involved climbing the latter of cinematographic sucess, but what does one do to be smart about it? What should he/she look for when when getting their foot in the door? What are the "right" doors to open? Ok enough questions, let's discuss. What do you guys have to say?

Any of you guys have any suggestions/help for me to get to threse places and get on some sets and get some experience?? Thanks a lot.

Wooooo! Working in the film biz sounds like it's gonna be a blast...I cant wait to get started!

So where should I go to get into the biz? NY? LA? What do you guys think?

I really have know idea how the film biz works, as I haven't gotten the chance to get involved with it yet. But the bottom line is, I want to be a DP. I want to make films and and make them look good. The sooner that happens, the better. But I will do whatever it takes to get there. I have only herd what others have said about becoming a DP. I wont know what to do until I get there. I guess I need to get started and see what happens...

Right on, man! Thats all I was sayin.

Yeah, its not that I dont have the passion to do cinematography. I was simply saying that on the looooong way to the top, I would not be miserable operating camears, being a 1st...etc. I have a very strong passion for cinematography and I am not going to stop working until I achive my goal of becoming a DP. Im just not gonna be unhappy about what its going to take to get there, so yeah, I think I do have business talking about cinematography.

"He's got a tremendous visual style (mostly in production design) that was in search of the right story, and I think Big Fish was it." I agree, his films are visually amazing...what part of Edward Scissorshands were you in???

True. Unfortunatly, I live in St. Louis and I have know means to veiw the actual film prints...

To tell you the truth guys, I would be wonderfuly happy if I was a 1st or just an operator. And if the DP I was working for liked me and my creative opinios were valuable (and if the DP was a cool enough guy to want others thoughts) i would be happy just operating a camera and giving sum input every once in a while. I just wanna shoot, man, thats all...

Thanks felipe! Did you work on the set? Or do you just have a keen set of eyes? :D

Is there a reason someone would choose an Arriflex, Panavision, or any camera system for that matter, for reasons that would affect the look of the film? Or is it simply whats available or what you can afford? Im a newcomer to the world of cinematography so please excuse me if there is an abvious answer.

OOOOOOOOOOOOOOOO, I liked the 8522 very much, also. Thats the first to appear on the DVD. They shot some whales at Sea world and the contrast and color acuracy was amazing. One of the whales was an optical blow-up from 16mm to 35mm. It held up very good. They also did an underwater shot and the water was like blue velvet, without any filters. They also did a BMX race with only avaliable lighting: amazing. Again, supurb contrast. Another shot they did was of the Budwiser horses. Being from St. Louis, I have seen many of these and this is whats the most impressive about this stock: its ability to record color as how the human eye sees it. You will be very pleased and you should be exicted!! Have you ever shot (or saw from the 35mm print) the Reala 500D? If so, what'd you think? It was the F-500 (8572) that I didnt like. The Reala 500D (8592) was amazing, I thought.

Dose anyone know of any rental houses or other places to get into anywhere other than LA or NY? Maybe some places a 19 year-old can afford to live on his own???

Can anyone tell me where to go to get more info on Panavision's student program????

I pesonally like the dark, grainy look. I felt it was appropriate for the mood of the film. I was originally refering to the style he used: angles, movements, ect. anyway, but I again, I liked it.