jamessilverman@hotmail.com

i am shooting a spec commercial which involves a number of stunts and football moves. I have never done this. -how does one prepare for angles depending on the moves -how does one design a sequence ? -how does one calculate the fps for the actors to perform the motions slower than real life. ramping, and persistance of motion (making it look "up to speed") (shooting on bolex/beaulieu r-16) I will also be shooting with the panasonic 24p....how can one manipulate speed in post? Also, the most important question...how do i cover my ass? -we dont have the money to test---thats why i am here. anyhelp or guidance would be much appreciated. thank you thank you thank you. cheers. james

Help....we need crew (experienced and inexperienced) for our shoot in philly (chestnut hill) its: deferred pay,and the last 3 weekends in april...fri-sun shoot days. ****please dont contact us if this doesnt work for you.**** we are a small production company looking to form a team of people who want to make an amazing movie. please be cool and positive and willing to contribute. we need. 1st and 2nd AC's -knowledge of panasonic 24p cameras (if you have a camera)----we can use you in other areas as well -focus pulling -can work as a team Glidecam Operator / 2nd Camera Operator -Experienced please. have reel and referances.... G&E Dept. -you have experience with lights, grip, mounting/rigging, or just and all around team player... -preferance with those with gear (we can strike a deal) -this is the backbone of a film set.....you can make it run like clock work. if interested,please contact ASAP... (tell us where you saw the ad) Ann Malinowsky (Producer) 917.716.3416 veronikathespy@hotmail.com James Silverman (DP): 917 566 7278 jamessilverman@nyc.rr.com

i just shot a short film/music video that takes place in paris in the late 60's/ early 70's. I decided to shoot it clean and let the wardrobe speak for itself. However, we want to tweak the color and texture as well as play with a handful of music video like effects. HOW DO I DO THIS>>>WHAT IS AVAILBLE TO THE DIY FILMMAKER? i am reletively new to this and would appreciate any advice or leads to information that is not insanely "techie" thanks james silverman jamessilverman@nyc.rr.com www.ffsf.com

thanks guys....my head WAS spinning with all these neurotic uncertainities. cheers

"Other colored gels -- gels that are not strictly "color correction" but are more for an effect -- are simply the colors that you might wish to have from a light." so mitch, i essentially just put a gel on the light EX: full straw, glacier blue, flame red, pale amber....and that light automatically becomes that color regardless of the lamp? james

how does one create a halo? also, how does one create a "blooming" effect (on a light or off a bright object/surface? ---I think bob robertson does this in a lot of oliver stone films. how does one create visible light rays? (like a foggy smokey night?) cheers. james

soooo. if i were shooting on tungsten stock...used hmi's with a quarter blue...it would make it less blue....correct? how does this apply to non-color correcting gels? (please be explicit) i am still a little confused how to grasp/control color, within the range of film stocks. as i like to utilize alot of color into my scenes and have a hard time getting exactley what i want. should i buy a color temp? or should i pay more attention to the LEE FILTER GEL SWATCH..? thanks james

I am a little confused how gels work wiith different kinds of lights. for instance: would it matter if I was shooting on tungsten stock w/ HMI's gelled w/ 1/4 CTO...what happens...is it fully color corrected? or just slightly orange....would it be acceptable. basically i just want to know when a gel... like straws, desighner gels like glacier blue, cosmetics, and correction gels and are put in front of HMI's and tungstens and their effect on the film stock you are using. (daylight and tungsten)....does the color temperature of the light have any effect on the gel being shot through. do i have to compensate extra for the color temperature of the light...or am i over analyzing this gel /color compensation issues? somebody please explain these reletively simple concepts.... cheers. james silverman

hey, I have a bunch of flash back scenes that require super 8 footage (color). I am having a difficult time choosing a facility in nyc for processing and transferring the footage to Dbeta with a mini dv copy. some of the places i have researched is : pac lab rafik color lab any suggestions or warning cavetas. I would really appreciate it. thanks james silverman

Aside from the basic principles of under exposing negative film.... How far can you under-expose, for night scenes without getting a thin negative? what is the best approach for shooting "generally dark scenes" ---- higher contrast ratios? would it be a better idea to expose normally (denser negative for cc via telacine)? can one expose the negative normally, and have high blue printer light levels and less red..? Do printer lights really matter at all if the project is CC'ed in DI or telecine? I know these are broad and somehwhat awkward questions that require experience and testing, but any enlightening knowledge and examples would be appreciated. (or sources of info on the internet) thanks james

hello all, I am trying to create a 1960's /70's look for a short film. Actually we are trying to shoot new york for paris...aint easy...i had some queries, and since we dont have the budget for adaquate tests, I was wondering about others' experience. 1) shooting clean (no filters) versus telecine. 2) underexposing 500T and pushing 2 stops. 3) lenses/optics 4) lighting...specific gels? or diffusion. 5) soft versus hard light? anything that would help me get a sense of how to re create this period aesthetic, i would sincerely appreciate it. james nyc wannabe dp

hello all, I am trying to create a 1960's /70's look for a short film. Actually we are trying to shoot new york for paris...aint easy...i had some queries, and since we dont have the budget for adaquate tests, I was wondering about others' experience. 1) shooting clean (no filters) versus telecine. 2) underexposing 500T and pushing 2 stops. 3) lenses/optics 4) lighting...specific gels? or diffusion. 5) soft versus hard light? anything that would help me get a sense of how to re create this period aesthetic, i would sincerely appreciate it. james nyc wannabe dp

hello all, I am trying to create a 1960's /70's look for a short film. Actually we are trying to shoot new york for paris...aint easy...i had some queries, and since we dont have the budget for adaquate tests, I was wondering about others' experience. 1) shooting clean (no filters) versus telecine. 2) underexposing 500T and pushing 2 stops. 3) lenses/optics 4) lighting...specific gels? or diffusion. 5) soft versus hard light? anything that would help me get a sense of how to re create this period aesthetic, i would sincerely appreciate it. james nyc wannabe dp