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John Silver

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  • Posts

    10

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Profile Information

  • Occupation
    Other
  • Location
    Marysville, WA, USA
  • My Gear
    Nikon D3200, Canon Vixia HF R20, GoPro Hero 3
  • Specialties
    Photography
    Graphic Design
    Drums / Piano
    Writing / Directing
    Music Composition

Contact Methods

  • Website URL
    http://www.thelostbookofjohn.com
  1. John Silver
    Thanks for your input, Adrian! The walk-by shot was the one I was reluctant to include. You can really see the source lighting in the leather jacket the closer they get. There's a longer version of the reel so I may pull something from there to replace it. By the kitchen scene do you mean the two ladies or the kid in the hoodie?
  2. John Silver
    Hello everyone! I'm eternally grateful for all of the advice that came pouring in regarding my demo reel last year. For one thing, this year's version is shorter by almost two minutes. It was painful but I finally cut out all the fat this time 'round. I was able to get a decent crane shot in there as well. That said...here is the 2015 cinematography reel. My hope is to really sharpen up my shooting by this time next year so any input is welcome. Thanks again, everyone! — JJ Here's the link: https://vimeo.com/140271457
  3. John Silver
    Thanks, Jay! I think "set up" is the most acurate (though painful) description of the whiskey and hand-washing scenes. They feel a bit like a commercial as I watch them again. That's the graphic artist in me. I am working on the reel taking everyone's input into consideration. This kind of dialog is what I like most about these communities. I'll let you know once I post the new reel in a new thread. Thanks, again, man! John
  4. John Silver
    Thanks, Mark! I've got some shots with more movement and a couple of wide angle shots I can drop in. After rewatching the reel and listening to the pacing of the music, I've shuffled some things around. I'll repost a bit later. Thanks for your input!
  5. John Silver
    Will do! Fantastic reel by the way. I have a soft spot for orchestral performances. ;)
  6. John Silver
    Thanks, Paul! Very insightful feedback. Yes, I'm looking for ways to improve my photography overall. For work, I am a director. The 50mm is the only lens I have at present. I'm looking to pick up a few more. I appreciate the color advice. This is an area I'm feeling my way through. I like subdued palettes but I shoot flatter because livening color is dangerous for me. So much can go wrong. As I gain confidence I hope this will improve. Thanks, again, man! Much appreciated!
  7. John Silver
    Crazy question: Does a demo reel have to comprise footage that has been publicly released? For example, when I was starting out as a designer, I created branding for fictitious companies until I landed real gigs I was proud enough to include in my portfolio. If cinematography is anything like commercial art, I suspect there are final shots, sequences or even entire films the DP was not happy with but, like all things commercial, he had to comply to get paid. Does anyone go shoot for their own reels? Do potential directors accept these shots or is it considered cheesy?
  8. John Silver
    Hello everyone! So, I thought I'd share my very first reel with you. I'm open for feedback and reasonable criticism is more than welcome (I'm also an artist and composer so I'm used to being knocked around). I really appriciate all the help the "old guard" has given me so far. The Vimeo HD version should be done processing about 15 minutes as of this post. https://vimeo.com/83831366 Thanks, again!
  9. John Silver
    This is a great discussion coming from a director's point-of-view. I am wrapping up pre-production on my first short. I have the privilege of working with a seasoned DP (Nat-Geo, PBS, BBC) who is willing to work with an untested director - a huge risk for him. I have found that we are working out a lot of potential snags at the storyboard stage. When he suggests a lens for a certain shot I have in my head, I go look for examples online of scene shot with that lens. Often I will find his choice better than I imagined. But sometimes I discover I haven't been clear in my vision for the scene and I'll sketch it out again. My initial impression of a DP is that of an artist doing commission work for a picky collector. If the artist sees the collector's house - the wall space, the lighting - up front, chances are he's going to paint a better picture for that space. But, again, for me this is still theory-craft.
  10. John Silver
    Nice. The power there for me is that light splash on his face. And that field is about as shallow as I've scene in a while. Damn cool.
  11. John Silver
    Cinematography and choreography. Even more impressive. Thanks, David.
  12. John Silver
    I have to admit being guilty of shooting wide open every chance I get. I'm so used to my older stuff feeling digital and harsh that my love affair with shallow field depths keeps growing. But you make great points. I seem to do better at 1.4 in static shots. And I wish I saw more statics in indie films. I think they can be great choices in a narrative from time to time. I remember as a young graphic artist thinking more, newer, flashier - meant better. I expect I'll grow out this phase in film as well. Thanks, again, man!
  13. John Silver
    Thank you, Stuart! I'll give that a shot. I'm kind of flying blind with this gem. The lens and body? - They aren't on exactly speaking terms. ;)
  14. John Silver
    Interesting discussion. And timely for me. I just picked up a non-ai Nippon 50mm 1.4f lens for my D3200. It's fairly old (1960-ish, I think) and I noticied that it's not razer-sharp...well...anywhere! But I can't help but appriciate the shots I get through this lens. Now I am finding myself looking at films from that era to determine how many shots were as sharp as we've been seeing since the 1990's.
  15. John Silver
    I was recently rewatching Citizen Kane. Being new to the cinematography field, I have no idea how Toland actually pulled a certain shot off. I'm talking about where Kane Jr. is building a snowman outside and the camera slowly pulls back (in what seems to be a super long dolly pull?) to frame in all the other actors at the far end of the room. Does anyone know how this was actually done? Thanks!
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