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Justin Hayward

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About Justin Hayward

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  • Birthday 07/01/1978

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  • Occupation
    Director
  • Location
    Chicago, IL.

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  • Website URL
    https://www.justinhaywarddirector.com/

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  1. Totally agree. It's very difficult to make anything look good in my opinion, but I don't believe a lot of people in this business have an honest subjective opinion if something looks good or doesn't. Now that digital has democratized the process (as Tyler put it) now you only have to eyeball a decent exposure and tell everybody it looks good and they'll believe you. With film, you had to have some experience in the technique just to get a decent exposure. Please don't misunderstand, I'm not a crazy film nut. I don't think I've shot on film for ten years. I'm just saying in the days of
  2. I said in the eyes of the layman, not other filmmakers or support crew. I'm always thinking in terms of commercials these days, because that's pretty much all I do and the "layman" in the commercial world are agency people. Trust me when I tell you, they don't know what a focus puller is. I spoke to a gaffer not to long ago that was on a multi-million dollar commercial with a 24 year old DP that didn't understand ratios between dimming lights and adjusting the stop. That would never have happened in the days of film.
  3. This is the only reason I miss anything considered professional having to be shot on 35mm film. There was a technique to it that had to be learned and the person that could put film into a camera and spit out a beautiful image the next day was thought to be a magician in the eyes of the layman. Those days are GONE... Gone... gone...
  4. Obviously if it's the weekend, it's going to be a little easier. We could do a LA-11am, New York-2pm, London-7pm (if that's the right time difference). Or a LA-3pm, New York-6pm, London-11pm... if that's not too late for you Phil. Or somewhere in between. There's really no way for Phil to do the morning without the rest of us going really late or Phil getting up at like 4am, so... Whatever you all think works for me.
  5. Time frame on my little "movie club" has been one of the hardest things to negotiate. New York to LA is a three hour difference and we all want to do evening. Obviously the other side of the world is a bigger issue. As far as picking a movie... there's not much to it... something streaming.... something people would talk about.... I'll give five I just watched that I feel are worth talking about.... "Blue Jasmine" A fantastic take on "Streetcar Named Desire" in my opinion. Streaming on Prime for $3.99 "Agatha" which I just reviewed on my movie club based on a facebook post by
  6. I watched it on Prime on my projector and the blacks looked really washed out, but it just occurred to me the movie opens with that slow push into that old super washed out black and white TV which turns into the actual movie. Maybe he wanted to maintain more of a washed out TV look from the 50's, but in a darker, low-light, modern, style?
  7. And I'd be down! Especially if it's only once a month.
  8. Because the whole movie looks lifted, not just the darkest scenes, and the rest of the director's choices were so bold (long takes followed by rapid fire edits... fading to black for long chunks of a dialogue scene...) I took it as an artistic choice. But there's no question it could be the latter.
  9. Another thing is we do "blocks" of movies, so we can compare and contrast. We just finished our Sorkin block, so we started with "Moneyball" (which is awesome), then the next week we did, "The Social Network", then "Molly's Game" and we finished with "The Trial of the Chicago 7." I'm a bit Sorkin'd out. Next we are going to do a Coen brothers block. It's a pretty interesting way to discuss their movies as opposed to a one-off in my opinion.
  10. I started a movie club at the beginning of the lockdown where we watch a movie on our own and between 6 and 12 of us get on a zoom call and do a two hour review. I have a mixture of directors, DP's actors and producers (and one casting director who has quite a bit to say about the performances:). I also only invited people I've had long film discussions with and I know have strong opinions and will have a lot to offer. We do once a week depending on availability, so we're around 40 movies at this point. I thought I knew what I was getting into, but it has been shocking... no SHOCKING how int
  11. Wide open because it's a flat surface. 1.4 or 2.8... whatever. It's the 5 or 6 stops of frame rate that I'm talking about or some shutter if you want to add it.
  12. Alright, I'll bite even though I'm pretty sure there's no solution... what if you want to use artificial lighting to create a tack sharp shadow of something like a martini glass with liquid being poured into it at high speed... like 500fps or even a 1000fps? Something high noon sunlight could probably create (although I haven't tried), but with artificial and controllable lighting. What is a source so small, but so bright that it could give that sharp a shadow with that much punch to expose for a 1000fps? I don't think a 4k xenon can't provide enough stop for a 1000fps if it's far enough awa
  13. I thought the movie looked fantastic and I think the opening credits easily set up how this was going to be an homage to "Citizen Kane" (and films made at the same time like it) while immediately being a modern interpretation of the same thing. The whole movie had references to films made at that time all the way to the way the movie was edited. Of course the "film reel change marks" (if that's what they're called) were super noticeable, but it didn't matter in my opinion. I was sucked into this movie, probably in every way David Fincher intended a person like me be sucked into this movie.
  14. A couple years ago I shot a series of commercials where we used 20 foot LED screens for the backgrounds. It was fine for what we were doing because you got real reflections of the background in glasses and shiny surfaces and things like that, but overall it was pretty limiting, because we had to line up our shots with the angles we shot the backgrounds or it would look fake. You could do a little camera movement if you were on a long lens and the background was really out of focus, but other than that we had to stay pretty locked into the angles we shot the backgrounds. The behind the scene
  15. If I were going to be willfully led into some kind of assault, it would most likely be by someone enticing me to talk about movies. "Have you read Sidney Lumet's book?" "Me too..." I'd follow like a cockroach to the dark. 😊
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