Jon Amerikaner

Chapman in Orange is supposedly putting together an excellent program. Complete with it's own movie studio promising to finance graduates' feature films. Don't discount the others. I applied to, was accepted, and eventually declined admission to AFI. I think my passion helped me with the acceptance. As did a narrative, no dialogue short I shot as DoP exclusively for the admissions committee. They really want to see narrative work. So if you don't have one complete, go out and shoot one and show them you're a visual storyteller. Remember that they are not looking for perfection. If you have nothing to learn, why go to school? UCLA is the long shot. I was accepted to AFI, and not to UCLA. They have (or had) a cap of 30 students. So it's very, very difficult. Of course you must try. You'll never know if you don't

Hi I just shot my first shoot utilizing a Letus and PL-mount with Arri film lenses. There was a tremendous amount of camera shake on focus pulls. (I was pulling focus and operating together because this was a no budget shoot) Now I am prepping a 2nd shoot with the system and looking for a 1st AC. So my question for you pros is: what other equipment do I need in order to stabilize and complete the rig so the AC does not get as much shake when he/she focuses? FYI the camera is an EX1 with standard Letus/PL-mount set-up Thanks

Good shoes and comfortable insoles for extra support. Makes a world of difference

You need to ask yourself what you want to accomplish. If you just need a camera to act as a recording device for class assignments, the you should definitely look into a used video camera. Check B&H's used site. This way you can do your projects on time and learn. Remember school is the place where you want to make mistakes. So it's good to have a camera that allows you to make movies and doesn't frustrate you technically or financially. A 60D might be in your price range for an HDSLR. But you may find some disadvantages to the bare bones HDSLR such as focus and monitoring, as compared to a traditional video camera system. As written earlier, the HDSLRs come into play when you can outfit them with the necessary accessories. You might also consider renting a camera with your budget. You can look ahead at what projects you have, contact a few rental shops, and divide your 1500 into a few camera rentals. This way you can get the quality of the higher priced cameras without breaking your budget.

Hi I am wondering how I can improve my ability to light actors' eyes and still achieve dramatic light. If you look at the first minute of my reel http://vimeo.com/24089193 you will see a scene that I believe really needed an eye light. I'd love to hear any tips you have on how I can get that sparkle in actors' eyes without compromising the overall scene lighting. Thanks

Hi I am wondering how I can improve my ability to light actors eyes and still achieve dramatic light. If you look at the first minute of my reel http://vimeo.com/24089193 you will see a scene that I believe really needed an eye light. I'd love to hear any tips you have on how I can get that sparkle in an actors eyes without compromising the overall scene lighting. Thanks

What problems, if any, will I run into if I shoot (D5) at 1080 24p and convert to 30p (for USA DVD) with sync sound? And how do I correct it? Audio interview. Premiere editing. Thanks

What problems, if any, will I run into if I shoot (D5) at 1080 24p and convert to 30p (for USA DVD) with sync sound? And how do I correct it? Audio interview. Premiere editing. Thanks

Shooting my first commercial on D5, in Europe. Client wants to distribute the spot in NTSC and PAL. What's the best format to shoot on? and convert to later?

With the relative easy to get a more cinematic look with inexpensive HDSLR rentals, I am having a hard time convincing a few first time directors to put budget towards them. I have one director who wants to spend all his money on a crane and a rain machine, which will look beautiful with an HDSLR. But he thinks that the camera quality doesn't make a difference since he has such a "great vision" and special effects. What can I do? Is this my place? Is it worth five days of hard work to add one crane and a few rain shots to my reel, even though they will be shot with a 3CCD HDV camera? I know any practice is good practice but... Help here... Thanks

Much appreciated if I can receive a few succinct definitions of a sequence shot and what makes it different than a long take? Thanks

Congratulations to Wally Pfister and all the nominees. Fact is no matter who won, it's films like these (and many more that weren't nominated) that keep me going everyday...

So I've used this camera a few times on some graduate shorts and docs. I think it's a good choice, but I still prefer the EX line. (I'm getting married soon, and one of the selling points of the videographer, in addition to his great work, is that he uses an EX) In addition to the 3.4 iris, definitely an issue in low-light, I'd say another draw back to this handheld camera is that it is heavy. So you will need a support system for those long nights. Curious to hear your thoughts after working with it.

First, it's great your teacher is encouraging you. You should take every opportunity to film. Shoot, Shoot, Shoot Step back a bit though. You aren't quite done with pre if you have little idea about production or actors...usually your first steps after writing, even before crew. With that said, realize that you are going to make mistakes, and it's okay. We all do. This is the time to do it. I highly recommend 3 books that, in my opinion, really encompass the basis of great filmmaking without getting too specific on individual crafts. These books are: Screenplay by Syd Field, Making Movies by Sydney Lumet, and In The Blink Of An Eye by Walter Murch. They are short reads, they are good reads, and they are essential for any filmmaker of any age with any experience and in any field. Cheap lighting. That's another matter...

There is a sequence in Jon Fauer's documentary Cinematographer Style, where cinematographers discuss knowing when to say "no". I discussed this idea with a director friend of mine who said he will never work again with any cinematographer who says "no". To clarify I am not speaking about being stubborn and saying "no, I won't do it" without offering any solutions. I am talking about those moments when a director's idea simply won't work for the time, budget, or logistical constraints of the film. For example, 8 real-life locations in one day with a student-volunteer crew. When is is appropriate to say "no, this won't work, we need to do x, y, or z as an alternative in order to get this film done"? What situations make saying "no" an appropriate response, and what situations make it inappropriate? Thanks

It's a vague question with many answers. But I am bored so I'll give it a shot... Composition, lighting, exposure, color, and movement are all things every DP will know. Everyone's abilities in this area will change with experience. I started as a news cameraman so I feel strong in composition, and weak in lighting. I'm learning... Once you get past the may technical aspects of cinematography (which are constantly changing so you won't learn everything 'by heart'), it is my personal opinion, that the best cinematographers bring the emotions of the work onto the screen. And the true artists, are able to reach an audience emotionally.

Let me clarify. In film school you are given a chance to earn experience. A class is experience. A short film is experience. In film school you are given a chance to make connections. A friend is a connection. A teacher is a connection. What you do with those experiences and connections are up to you. And there are certainly other ways to achieve those same experiences and connections today. I never meant to imply that any set of experiences or connections, wherever they come from, are a proven method of success. Nothing is 100% Film school, like anything, is not a formula for success.

It sounds like you had one of these film school experiences where the faculty didn't prepare you for the reality of the industry. Fair enough, since that reality is different for everyone. I used to hear friends talk about wanting to be filmmakers because they love it, and that they are not in it for the money. I think that's the right attitude. But who isn't seduced by the lifestyle? I go back to something my mother told me: good salesman will always have work because they make people money. Artists spend money. So if you really want to rise to the top you have to be able to make a lot of people a lot of money, very quickly, and all the time. You will either do that by being a g-d gifted superb director like Kubrick or Eastwood. Or an business wise producer and investor that turns nearly everything to gold like Jerry Bruckheimer. And finally, you are putting a lot of pressure on yourself. You'll probably be 30 in ten years. See the world. Learn a language. Live your life and enjoy it. Read. Sometimes good things happen because you stepped back a little.

Love the EX series too. I am fortunate to be doing an MFA where I can get my hands on various cameras (z1, ex1&3, 5d, nx). As someone who started in documentaries/TV news and continues to shoot docs, the iris is still a major flaw. The lens on the camera is simply flawed...I can go on about it forever like a focus ring that has no end.

That is a great assignment. It sounds simple, yet you can run many different directions with it. Sunrise on stormy day when you just get a few rays of beautiful warm light until the clouds turn it cool and soft. One thing you can do is to observe very closely the real sunrises and nights in your life. Notice how the light changes from minute to minute, the colors, how it looks on a face, on a piece of wood, through a curtain. Write down your observations. Or better yet take photos with a good SLR. Don't add your own light. Put it on a tripod and take a long exposure for the predawn and nights. Good luck. Remember to have fun.

I learning that imagery destined for Internet distribution (and hand-held mobile devices) require a different approach. Somehow those amazing desert vistas from Lawrence of Arabia don't quite look the same on my iPod nano. I've found, in general, that unless the content is really compelling, imagery for the Internet has to rely on what we were all told NOT to do. That is; to make the audience aware of the technique. Jump cuts, close-ups, snap zooms, and shifting focus all seem to be the norm in internet video. Producing imagery for Internet and mobile devices is challenging because we are competing for eyeballs against every distraction imaginable. So I am wondering, what is your approach to shooting for the Internet? What works and what doesn't? Many Thanks

Questions: Do you think film school is worth it to me given the above circumstances? You need experience and connections. Film school is a proven way to get this. However because of the price of school today you have to be creative. You need scholarships and grants. Or do something totally radical and learn in a foreign country where prices are lower and where it might be easier to find work because the market is not over saturated How should I go about finding paying jobs? As soon as you know tell me. We all start somewhere. If you are talented you will find work and work will find you. But do us all a favor, don't work for free unless everyone on the team is. Amateurs are making it harder and harder for pros to find good paying jobs. I would like to get down to Los Angeles at some point, it seems like there are a lot of jobs down there. Is that true? Yes and there are a lot of people, more people than jobs. More talented people than jobs. If this what you love, and you can't do anything else than do whatever you can to make it happen. However if you can contribute anything else to make this world even a little better, than do that. You can always come back to filmmaking. We need more filmmakers with life experience and real stories to tell instead of just regurgitating what's been done before.

Noticed no posts on the NX5. What are your thoughts on the NX5? I found it to be a great video camera with one major flaw. The iris closes down to 3.4 on the far end of the zoom. This makes it a frustrating choice for cinematographer and videographers working in low-light or looking for a shallow depth-of-field. I know Sony is working on an NX with interchangeable lenses. Until then I can't figure out why they went with this lens choice on the NX5. Your experiences on the NX5?

Thanks David. Last time I posted in 2005, the policy was different.

If I can add one more thing. Photographers who are specialists and experts in a subject will be in demand. If you can show that you are somehow more adept and capable of filming dolphins, even at their most sensitive (and especially dangerous) moments, than everyone else...work will find you