Jump to content

Paul Tackett

Basic Member
  • Posts

    83
  • Joined

  • Last visited

Posts posted by Paul Tackett

  1. This is a predominently student produced modern take on the Shakespearean classic, Love's Labor's Lost. Three best friends return to the camp where they met as children and make a pact to abstain from the company of women. Little do they know, three young women from a neighboring camp are going to make it difficult for them.

     

    Filming will be week days May 14-June 1 at SEU and other areas in Lakeland.

     

    Auditions will be held on April 13th from 5-11pm and 14th from 9am-6pm in Bolin Studio at Southeastern University.

     

    Email rereiswig@seu.edu to schedule an audition time slot.

     

    Please bring a resume and headshot

     

    All ethnicities and body types

     

    Main Characters:

    3 college senior men; camp councilors

    Eric-the leader of the group; level headed; an intellectual

    Rome-a ladies man; witty; considers himself a poet; a bit of a jerk

    Duane-laid back; a follower; slower on the uptake than his friends

    *will also need 12-13 year old versions of Eric, Rome, and Duane

     

    3 college senior women; camp councilors

    Cleo-leader of the group; strong and unrelenting personality; witty with a sharp tongue

    Athena-stoic; strictly adheres to a rigid schedule; logical thought process

    Sofia-timid; shy; has a lot to say but afraid to say it

     

    Supporting Characters:

    3 high school/middle school boys; campers

    Bro-16 or 17; Eric's little brother; class clown; thinks he's a ladies man and funnier than he actually is Don Armando-flamboyant foreigner; speaks gibberish; preferably Hispanic looks but not necessary; does not need to speak another language

    Moth-Don Armando's translator but doesn't actually understand him

     

    1 high school senior girl; camper

    Jackie-ditzy

     

    1 college sophomore/junior man; counselor

    Joe-Cleo, Athena, and Sofia's perpetually friend zoned best friend; straight but most people assume he's gay

     

    There will also be many parts for extras of all ages including several bit and featured roles.

  2. I will answer this question the best I can. I am still learning, but I also will state that I will always be learning. So this is how I am taught to look at lighting:

     

    You are lighting a scene, not the actors. Start with your master. Light the scene how you see fit.

     

    When you go into tighter shots use your master as a reference and light it accordingly.

     

    The more control you have, the better your film will look.

     

    For exteriors this is the same, the more control you have the better.

     

    There are different views and styles of how to light day exteriors, but this is how I do it: backlight everything. Shoot your wide backlit. Get a shallow depth of field on your closeups so that you can move your actors to be backlit. This will keep everything consistent and keeps everything under control. Shoot at times that are good for lighting such as before 10 am and after say 3 or so pm. Backlight looks good as well.

     

    There are some people who disagree with this style, they want only naturally motivated lighting. But it looks good and your audience wont notice unless they are trained to notice.

     

    I hope I answered your question, if you would like me to elaborate on anything or if I missed something just let me know.

  3. Hi

     

    I am learning cinematography so I have no specific notes about that. I am an actor, writer and directed stage shows. It looks excellent. Except a couple of seconds at about the 28 second mark where the sun is blinding for 2 seconds. But maybe that's okay. It just seemed to take me out of the video.

     

    I was going to go into a critique of the story and writing, then I noticed on Vimeo that you were the cinematographer. I am hoping to make a short film and would be very lucky to have you in that capacity. I have to learn it from the internet.

     

    Since you don't need any critique about the actual film, Good Job

    Barry

     

     

    Thank you I really appreciate your input, i also helped write it as well so if you do have comments on that I'd definitely appreciate that as well. I'm a student learning all the aspects of film, so I'd love to improve in those areas. Thanks again for the complements.

  4. So I was working on a film and I would like to know for the future what the correct use of gels would be in the following situation:

     

    We lit a room with tungsten lights. It was a day int. scene shot at night. We filled the room with diffused light. We shined a harsh light from one direction and flagged it for sunlight. Should the sunlight have a CTO on it for daylight.

     

    Also the following situation is similar: If all the lights have CTB on them, should the "sunlight" have no gels on it?

     

    This is a scenario in which there are NO windows actually seen; its a day int shot at night.

  5. ANY light can and has been used to create an eyelight. This is not rocket science, just put a light next to the lens and it will be reflected in the eyes of the actor facing the camera. Use a Kino, a Tweenie, a light bulb, a silver card, an 18K HMI, a 1K Zip, an LED, etc. - if it puts out light, it can be reflected in an eyeball.

     

    I'm sort of amazed at the recent obsession that film students have with eye lights, as if they've discovered a magic bullet. The quality of the key light is WAY up here and an eyelight is WAY down there in terms of relative importance to a well-lit portrait. Eye lights aren't even the frosting on the cake, they are the bits of frosting you decorate the frosting with.

     

    Thank you very much for your input Mr. Mullen. Would you please expound upon what you mean in terms of the quality of the key light. How can we make this better? what are common mistakes?

  6. Obviously eye-light has been discussed before in these forums, but no matter how much I read up on it in these forums I have not seen a good SIMPLE explanation of how to achieve this.

     

    If someone could show me a tutorial video, or even a diagram showing placement, as well as exactly what type of light to use etc. it would be extremely helpful.

     

    Eye-light seems to distinguish the amateur productions from the professional. You may argue that this is not the case, however I have yet to see eye lights used on amateur sets. Obviously there are more important things to lighting, however I believe eye light gives it that extra little push.

  7. Archie, thank you for your input. I agree with what you said. I was not sure how to create a day for night int, this helped clarify that. Simon, the scene prior to this shows them when they first meet, I did not include this because it was shot by a different DP because of the instructions of the group project for school. I do not agree that simply offering a basket to a guy to help him is in any way self-centered but rather the opposite. If you are implying that there is a deeper meaning to these actions, then might I state that there are often instances when men (and women) are at emotional low points (or juggling tasks in life) and a friend can help them out (no matter what their sex), I do not see this as something to avoid portraying in a film.

  8. Thank you. I really appreciate your input. I completely agree with what you had to say. Those are definitely mistakes, and here are why they happened.

    1. the assignment was to show a scene without dialogue. "show not tell"

    2. I completely agree

    3. You're right, needs to be cut out.

    4. The intent was to shoot a day scene at night, thus hard light. However, you're right. No one would think that there is a window there.

    5. Yep.

    6.True true.

     

    Thanks again. I'll go look at your videos. Also anyone else's input would really be helpful. Trying to perfect all my mistakes, so it would help to know what they are.

×
×
  • Create New...