Justin Hayward

Looks great!

Maybe.

If it happens, we'll see it in commercials and music videos first. That's why I think we're not far off from main stream, big budget, studio movies being shot in black and white. Music videos these days are more often in black and white than in color (even if they don't know what they're doing), and commercials aren't far off. Kids today barely know a time without crystal clear images, let alone no color. So, black and white is becoming a new style like anything else, not retro, but new. In my experience, I don't see "classic" cinematography coming back any time soon. No agency I've ever worked with has hinted at anything remotely representing "classic." Everyone wants "real" and "raw" which means, long lens, hand held, shallow focus, lens flared, desaturated... That said, here's this...

I like what Quentin Tarantino said about first time directing in a recent interview. I don't have the quotes, but when he talked about "Reservoir Dogs," he said even though the entire crew had more experience than he did, no one there could have directed it better because no one knew the material as well as he did... not only because he wrote it, but because he poured over it. He also talked about how he had limited technical understanding, but he always had specific shots in mind. He said if you really want to learn what a director does, watch any Sergio Leone movie. You can see the directing in a Sergio Leone movie. You don't have to direct like Sergio Leone directs, but at least you can see what a director does.

Guys, I set this up wrong, my bad. I wasn't referring to collaborating with the people working with me on set or micromanaging everyone. Collaborating with the crew is part of the job. Collaborating with agencies is required or they won't hire me again. I'm talking about being totally and honestly confident in what I like and don't like on set. If the DP presents something better than what I planned, I'm all over it because I honestly agree with them or I honestly don't. I'm talking about honest confidence in one's own work. It's the loss of that honest confidence whether something is good or bad after I've completed it that's a drag. After a project is finished, my opinion of the job hangs on the opinion of others. If someone tells me the work is genius, I'll agree immediately. If they tell me it sucks, I'll agree shortly... after my self pity party. I can't really be objective until much time has past.

I regularly direct commercials and short projects and other things. When I'm directing, I am a dictator. I'm running 100% on instinct and I don't listen to anyone that has an opinion outside of my own. That said, once the spot is done, I am a slave to other peoples opinions. I turn to jelly. I recently read a definition of a narcissist, and one of the qualities a narcissist possesses is being a slave to other peoples opinions. I really need to work on this, because I don't want anyone to think I'm a narcissist... Ever. Are any of you the definition of "narcissist"?

If that statement is true, it sounds like you already know what you want to do. Just explain what you want to everyone helping, regardless if they've seen certain movies in your wheelhouse. If they haven't seen something you're referring, just describe it to them to the best of your abilities. If they show you something that doesn't work, tell them. If it does work, tell them. It's not a science, it's feeling out the situation moment to moment.

Minus the smoke :)

Every time I see this...

I think it's a common misconception, because, as David said, wide-angle lenses can give a pseudo deep focus effect because the background looks farther away which makes it harder to tell if the background is sharp. A long lens compresses the background, bringing it closer to us where we can clearly see it's out of focus. But without changing the stop, the depth of field isn't going to change. Since people often use long lenses for a "shallow focus" look because of it's perception, they probably assume a wide lens must have a deeper focus look.

Gosh, has it been four years? Every time I visit this site I feel like I'm in a time warp I can't reverse.

I dug it. It was weird, but you're not afraid to show how weird you are. I thought it was very interesting, but sophisticated and pretty at the same time. It was good looking and unique. Nice work.

This is not as intense at the other two you posted, but it's a very fun look at the pre-comic book, franchise, movie world, and a very young Tim Burton.

Great stuff. Thanks for posting.

SInce I don't personally pay DP's, I can't answer that. But I wouldn't necessarily hire him to help me shoot something. That's not because I don't like his work. There are a number of factors that go into things like that. I actually think some of his stuff looks pretty nice. I think the first half of the reel was better than the second.

$265 is low for a commercial PA rate. DP commercial rates around my area vary from $700/day to $2000/day.

Seriously Phil, At what age did you decide you wanted to make films for the love of the craft? And, at what age did that passion disappear into only caring how filmmaking would unsuccessfully benefit you financially? Do you want to be a filmmaker or an unsuccessful businessman?

Since you were cutting words with "it's impossible"... Okay, I added an apostrophe ;) Just because you aren't paid what you think is enough to do what you do, doesn't mean you can't shoot for fun. Do you ever shoot projects for the luv of the craft? You can do it on your cell phone these days. Maybe you would be more satisfied finding a regular 9 to 5 job and shooting little projects on the side.... for the fun of it.

Oh right on Bill, thanks. A woman was recommended to me by another filmmaker friend. I can send you her info. She was very fair.

Hey thanks Richard. I really appreciate that coming from you. Did you find it simple to navigate? I really want it to be simple, and to focus on the work... Thanks again.

So I'm in the final tweaking stages of my recent website. Any suggestions? http://justinhaywarddirector.com/#home Thanks

That said, I actually know a very busy DP that recently bought an Alexa, so I guess there are exceptions to the rule :)

DP's aren't expected to operate the functions of a camera. They're expected to oversee the entire look of the film. They have assistant cameramen to handle the technical stuff with the camera. Its the same reason they don't own lights, it's not their job to physically operate and move lights. Sound guys personally operate their equipment, so it's natural they would want to be as familiar with it as possible. Plus, cameras are changing all the time whereas sound equipment changes a lot less. Besides, sound guys get paid rental for their gear and usually charge it separate from their day rate. I suppose if you asked a sound guy if he wants you to rent gear, he'd probably say "yes, rent mine."

Really good points.

No, that makes really good sense.