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jordan kersten

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Posts posted by jordan kersten

  1. Jordan, I may need a film scored. Although its a no-budget thing that I'm working on now, so, if you where willing to compose a song or two for the short (8 minute) film, There is a strong chance I would choose you in the future when paying projects do come along.

     

    Consider it a kind of Test...

     

    Thought I'd ask if you where interested, don't know if u are or not. If you are, reply to this post or send an e-mail to landon1600@yahoo.com

     

    Check your e-mail...

  2. 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

  3. 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.

  4. 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...

  5. Downscale your living situation.

    Put on a happy face and look people in the eye.

    Don't go crazy buying equipment you can't really afford.

    Get and fill a huge address book with contacts and use it!

    Develop and refine technical, artistic, leadership and psychological warfare skills.

    Shoot films.

    Get a very tolerant partner (hopefully a millionaire with a sense of humour).

    Realize that you are crazy to be in this business.

    Shoot more films.

     

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

  6. 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....

  7. 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?

  8. 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...

  9. 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.

  10. You mean, like Planet of the Apes? <_<

     

    I'm glad that with Big Fish he could finally match his vision and manner of storytelling to a story OTHER than the same one he'd been re-working for many of his other films -- the lonely, sensitive misunderstood soul who bears a physical resemblance to Mr Burton himself... (Scissorhands, Batman, Sleepy Hollow, Nightmare...) 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.

     

    Ed Wood seems like an anomaly in his career, but a hysterical film.

     

    As a bit of trivia, early in my career I was an extra in Edward Scissorhands and got to spend a couple nights on set with Burton, Depp and Rider. It was fun to be a "fly on the wall" and watch this man direct. I'm actually visible in the film!  :P

     

    "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???

  11. I watched this on the DVD as well, though I doubt a blowup from 16mm to 35mm, versus direct 16, or 35, would be noticeable at SD resolutions.

     

    I did like the colors. I'd love to see a side-by-side comparison between this stock and Kodak 5245.

     

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

  12. 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...

  13. 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.

  14. If you call Fuji they'll project those same examples you saw on the DVD from a 35mm print using the screening rooms at FotoKem. You'll really see a difference from watching the DVD.  I just came up on a roll of 8522 (64-D) and I'm really excited, I've been wanting to shoot this one for a while.

     

    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.

  15. Panavision has a program to help students with a 16mm package.  If you can?t get it free, than it can be cheap.

     

    $500 for a camera rental is not an unreasonable sum for the weekend.  It will be tight, and will require you to make deals with who ever you get the package from.

     

    On a music video I did, we got a Panaflex 16, with mags, primes, and all the other good stuff for $600 a day.  This was a decent package, but we had a good producer.

     

    Another place to lookout is just all the other rental houses, and private owners.

     

    You actually won?t pay "extra" for S16 compared to standard 16.  It will just affect what cameras you can use, and from who you get them from.

     

    You also will need to have insurance.  If you don?t have insurance, you will have a very hard time getting a package.

     

    If you can?t afford insurance, try Wooden Nickel.  They have 16mm packages and they will allow you to pay extra for their insurance.

    Kevin Zanit

     

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

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