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Arturo Sinclair

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About Arturo Sinclair

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    Ithaca, New York
  • My Gear
    Too many
  • Specialties
    Special Effects

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  1. Although by now your job is probably done, I'll share a solution I've used successfully a number of times working on no-budget films. I print the image in question an appropriate size in acetate and simply affix it to the monitor. Can't get any cheaper than that and it works perfectly.
  2. Try film production job boards, e.g. http://www.mandy.com/1/filmtvjobs.cfm?jt=nyc If you are in Likedin join one of their many Film Job Boards (by location) In any case be persistent but also patient, it might take time. Take ANY production job that will get you onto the set or location and then be the most helpful person around, Good luck in your search!
  3. What you want is a compositing program such as After Effects where doing what you say would be quite simple (assuming you spend some time learning the program). AE is not free of course, but you can download a 30 day trial version, go into overdrive with coffe or tea and study the tutorials. Head over to http://www.videocopilot.net/ and study their fantastically good (and free) tutorials. Then, if you need more time than the 30 day trial you can "rent" the entire Adobe suite for about 19 dollars a month and finish your project. If you don't think your project is worth the effort and the small expense then I would not even bother:-) I imagine if you are in this forum is because you have more than a passing interest in media and are a creative person, so I would suggest you invest some time (and some money) into learning with tools that are used throughout industry so instead of simply a pastime it develops into something more exciting and useful for your future. AE is of course one option, there are many others, including editing programs like Final Cut/ Motion etc which you can use in combination with AE or by themselves. In any case it will take hard work and perseverance, good luck!
  4. I would not say that Nestor Almendros and Haskell Wexler's cinematography calls attention to itself more than good prose gets you immersed into the story. Self-conscious cinematography is more likely to occur in films where directors have not much to say and cover themselves up by doing fancy unnecessary shots, effects, angles, fast cutting etc. to account for the fact that there is nothing worth seeing (in terms of story) In the film you mentioned, one of the great films of our time, the cinematography simply becomes the atmosphere that helps reveal characters and situations. Light is part of the story (as is every single detail in the frame of this film, color, costumes, composition, movement). Perhaps many people get fascinated by the photography of this film because many of the films they see at the multiplex are simply products for sale that have very little regard for excellence. But if you see any film by Nestor Almendros http://www.imdb.com/name/nm0000743/filmoyear and you will find how the light (the main tool of the cinematographer) tells the story in an essential way, nothing more, nothing less. THe same is true of the work of many great cinematographers who are respected as artists and by what they bring to the story rather than being simply technicians who are paid to churn out a standard (and well crafted) product.
  5. Mark's reply is exactly right. I would use the F3 with no hesitation, specially looking at your final project. Turning the camera on the side will give you more than enough resolution for a fraction of the price. Like you mentioned the real issue is lighting the green screen properly as well as your subjects and using a dedicated keyer (like z-matte) http://www.digitalfilmtools.com/zmatte/ or similar tools. And, by the way, Polish designers have created some of the most memorable posters in the history of film (and theater!) and it seems that they continue to do so, I love it!
  6. I would look for any films DP'd by Sven Nykvist, Nestor Almendros, László Kovács, Vilmos Zsigmond, Vittorio Storaro, Haskell Wexler, Michael Cimino, Gordon Willis, Rodrigo Prieto and the list goes on. Some of the films mentioned above were shot by some of these great cinematographers.
  7. I might be biased :-) since I teach at Ithaca College which has a great film program. Check it here: http://ithaca.edu/rhp/depts/cinphoto/programs/cinphoto/ We are in the State of New York in spectacular Ithaca and close enough to Manhattan (4 hours). There are many other great schools in this area of course. Check out their programs, syllabus and fees then write to the school to inquire about scholarships etc. Most colleges would have yearly fees near 40,000 so for sure try to get an scholarship! Good luck in your search
  8. You are on the right track with the books and videos suggested. Another great source and a fascinating one is "The Story Of Film" by Mark Cousins. THe book is great as well as the DVD set (5 disks) called The Story of Film: An Odyssey (2011)
  9. This is another excellent book not in the previous list: http://www.amazon.com/Film-Lighting-Hollywoods-Cinematographers-Gaffers/dp/1439169063/ref=sr_1_3?ie=UTF8&qid=1351563452&sr=8-3&keywords=nestor+almendros Also look at the work of great photographers and try to figure out the source of each light in the scene. It is a great exercise that will help you train your eye. Try to draw solid and simple objects (rocks, pieces of wood, metal etc) even if you don't know how to draw. It will train your eye to understand light and shadow and how it affects form, Do this every day! Good luck!
  10. I guess you will get many different suggestions on this one. I would recommend to stay away from a DSLR because of what you just mentioned. By the time you get all the accessories for them to perform as a real videocamera you will be well above your budget. I really like the quality of the D800 for example, but with no viewfinder in video mode (only the LCD) it is unusable in a bright outdoor environment. And if sound is a concern you are now lugging an external recorder as well! I am currently using a SONY FS100 for most of my work and I love it. (we have FS100's and F3's at the school where I teach) It's true HD resolution and speed make it ideal for nature photography. It is compact and at least until December it sells (body only) for $4100. I don't think there is nothing comparable at that price. The rest of your budget should go into the best glass you can afford, which is another issue. Having said that I realize it is very scary to invest a lot of money into gear you have not used, so it would be a great idea to rent a couple of models and get a feel for them. Of course you need to really learn to use the camera to get the best results and be able to make a decision. Depending on where you live you might be able to attend a training session on this popular camera. Here is a link to get you started: http://training.abelcine.com/event/sony-fs100-fs700-workshops-los-angeles-2/ Since you are going backpacking I would think about taking a monopod at least because you will need some support to shoot stable shots and I cannot imagine backpacking with a tripod! Good luck in your search for the perfect gear! (which does not exist of course:-) I have owned many cameras throughout my life and the only camera I would take to the most remote place on earth would be a Bolex! because I know it will never fail, but then what about the film...hmmm
  11. Try http://en.movibeta.com/ You can upload your film once (plus all the additional data, bios, poster etc.) and many festivals will be able to access it directly without you having to submit individual copies. If you are accepted you might then be required to submit an HD file. I have used it with good results, many festivals prefer this method of submission.
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