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Hendrikus De Vaan

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Hendrikus De Vaan last won the day on January 31 2015

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About Hendrikus De Vaan

  • Rank

  • Birthday 06/01/1989

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  • Occupation
    Director
  • Location
    Budapest, Hungary
  • Specialties
    Directing, Stop Motion Animation

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  • Website URL
    http://hendrikusdevaan.com
  1. Thanks guys! Will email the lawyer for the free consultation, just need to collect all of the info I have. Will also look into options for shooting in the EU on a soundstage (or location with some minor modifications). Thanks again for everyones input! Harrie.
  2. No offense taken, I've been realistic about that from the start. I mean, maybe if I were directing animation, but I'm not. I don't have money for a lawyer right now, but will keep it in mind, as I do want an O1 eventually. I just don't want to spend the money unless I'm 99% certain it will go through. It's too big of a financial loss for me to bear right now if it fails. The film is set entirely in a luxury apartment, with less than 5 mins of screentime outside of the apartment in fairly generic locations. However, the dialogue and humor is very American, setting it in the UK would pretty much be a ground up rewrite, with a new writer, in which case - it's a different movie. A production company in the US said they were maybe interested in taking it off our hands and hiring a local director, but I'd rather find a way to direct the film myself. The problem is, American apartments look quite different to London apartments. I've been to both places, and although some things might be subtle, I do believe the difference to be enough that I'd at the very least have to fly in appliances (or rent US stuff locally maybe?). Or shoot on a stage. On a stage I could cut my 3 week shoot down to 2, due to controlled conditions. But this is all possible, I just don't know if it's affordable. Shooting on a stage in Budapest, Hungary is also possible, and they offer a 30% rebate on anything spent in Hungary (I live here right now). But then comes flying in actors and accommodating them, as well as again potential VISA issues etc. I'll also try to track down a couple of UK producers/ production houses and see what they think. Worth testing the waters. Thanks again guys! H.
  3. Hi Phil, thanks for the reply. Didn't seem to come to my inbox, so only just saw it now. That's a shame. I guess once I've done my first feature, this will get much easier, as I'll put in an o-1 application through an agent so I can have it longer term. I don't have the cash right now to put into a speculative application unfortunately, it's not a small amount by any stretch! In the meantime, perhaps I'll have to do this film on an EU soundstage a la Polanski with "Carnage". There are a lot of good UK actors that can play American, I'm sure. Just wondering if it's even possible to shoot on a sound stage with an apartment set for under 250k usd. Thanks again! Harrie
  4. Hi guys, I have a very specific question and thought maybe someone who has done something similar may be able to chime in... I'm producing my first live action feature film right now, which I will be directing. I didn't write it, but my name is on the script as I was heavily involved in developing it. My writer is an American citizen. I'm looking to bring the production to the US with some European money, but the majority of the financing coming from within the USA. I had thought about the 01 visa, but it's a bit of a catch 22. I can't afford to get the Visa without financing in place, but I can't get finances in place until I know with 100% certainty that I am legally allowed to direct a film in the US. I've done a bunch of short films, but my main success has been a stopmotion animated short film, which won me 2nd place in my category at Young Directors Award (part of the Cannes Lions festival). In addition, I have a bunch of press about me and my film, as well as having won another Young Directors Award, issued by Danny Boyle. I have a feeling that this will not be enough for an O1 visa, nor will it get through the guild portion of the selection process (DGA I imagine?). What I'm wondering is, if I'm bringing a script to the country, and working as one of the producers as well as directing, does that constitute as employment? Or does that mean I'm setting up a temporary business in the US? Is there any simple solution to my problem? I can't seem to find any information relating to this, at all.... Thanks!!! Harrie
  5. Thanks Richard! I'm glad you liked it. It has played at a number of festivals so far, and won me the "Young Filmmaker Award" at Shuffle Festival in London, chosen by Danny Boyle. Also played at Mill Valley, where I got to meet Darren Aronofsky, and go to Pixar etc. Crazy experience going from a garage in the middle of no-where to meeting some of my heroes.
  6. So then GH4 or the FS100 are really the only sensible options, and I'll just have to deal with rigging it, and powering an evf etc. I can live with that if I need too, just wanted to see if I had options first. Thanks so much for your help Phil!
  7. I'm assuming also that older cameras such as the PDW-F350L are not overly practical for what I'm doing? I'm not too fussed about shallow DOF etc, but I guess these older cameras have pretty terrible low-light yes?
  8. That looks like a very good option to build on. I really thought the GH4 or A7s would be good options, but there's another slight consideration: The area where I am going has a VERY high violent crime rate, and there's a definite chance I'm going to get into some uncomfortable situations from time to time. Someone has advised me that they generally won't mess with journalists or news type people, so it's generally suggested to look like a professional technician. I.E not a rich tourist with a really nice DSLR and a bunch of stuff attached to it. The other thing with something quite solid is, in a situation of having to run, it's pretty easy to pull it off your shoulder, grab it by the top handle and move quickly without having to worry about getting it snagged, or loosing bits of kit etc. Don't get me wrong, there's a good chance this won't happen, but I'd rather not become a 6ft5 target. So if I went the DSLR route, I'd get a GH4 and a small lens, and rely on internal audio for syncing. But that's a hassle.
  9. Because I'll be shooting for a few months, as the rest of my time there will be spent doing research. It will take some time to track down some of the elements I need to shoot, and I need to be able to grab and go at a moments notice. For anything narrative I ALWAYS rent, as I don't shoot nearly enough to justify owning a camera (and I'm primarily a director, not cinematographer). Totally understand the concern though.
  10. The other thought I had was maybe a FS100 with a v-mount adapter to make it more shoulder balanced. Seems like a good compromise between Frankenstein and ENG right?
  11. Thanks Phil, I'm quite happy to shoot with Nikon, Contax Zeiss, or Canon FD primes (Some FD zooms are supposed to be particularly good for video work too, so I've heard). Ideally it would be an ENG lens, but that's probably not really possible in this budget range. The Sony F900 and viewfinder would cost pretty much my entire budget on revised inspection, so even that wouldn't be possible to set up I'm thinking. Originally I was going to go GH4 or A7s or something, but rigs and wires and adapters and separately powered accessories (although I'd prob just go v-mount and run everything off of that). But then it's VERY exposed to the elements too. But I don't need a power zoom, or autofocus. So maybe that solves at least some of the lens concerns. H.
  12. I will be shooting a documentary in the Caribbean this year as a pre-cursor to a narrative feature film I will be doing there. I'm done with DSLR Frankenstein rigs, and really miss using ENG broadcast shoulder-mount cameras for this kind of work. I want something I can chuck on my shoulder, and will stand up to some light abuse (happy to buy a portabrace cover of course). I miss ergonomics. Unfortunately, my total kit budget is sub $5000. But I don't really need a tripod for what I'm doing, and I'm a one man director/camera man on this one. Interview audio will be recorded with a portable device, so the budget can be sunk into just the camera, lens, and acceptable onboard mic. It will need to preform well in bright sunlight, but also have some sort of ability to shoot in lower light situations (bars etc),although I don't mind a bit of noise, as long as it's usable footage. (so fairly clean at 1600 iso ideally). The only thing new in my price-range seems to be something like the Sony NEX-EA50UH, with a few minor add ons. I could set that up for under $4000 I'd say. But it doesn't look particularly durable, and I would almost never use that lens that comes with it. I'm open to suggestions of used equipment, maybe a Sony F900 (I really like the F35, but it's out of my budget range, and not super practical)? Although I'm a little weary of the amount of abuse used broadcast equipment will have endured. It's a hard, hard life for cameras in the doco world! Thanks! Look forward to hearing what you guys think.
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