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JosephKHansalik

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About JosephKHansalik

  • Birthday 06/02/1990

Profile Information

  • Occupation
    Director
  • Location
    North East
  • My Gear
    HV30 Vixia (1080 HD), 8mm
  1. Ok, that was exactly the situational analysis I was looking for, from someone who knows. Thank you so much. -Joseph
  2. Hi all, Everybody knows that Ridley Scott got his start in commercials, and I was wondering if anyone with experience knows how to break into the commercial industry in the U.S. from the ground up, perhaps with some local TV stations, and any tips you might have. Thanks! -Joe
  3. I am aware of the big 3 (Sundance, Toronto, and Cannes) but wondered as I will be making work throughout the year what there is in the way of a comprehensive list so I can shoot for dates or groups of dates. I do some composing and there's a site like that for composers: http://www.composerssite.com/opps/results/taxonomy%3A2 So I thought I'd ask around--could be a benefit to others as well. All best, JKH
  4. As for Westerns, anything by Sergio Leone or starring Clint Eastwood is a good start, but to me, the epitome of the western is the late 60s and early 70s episodes of "Gunsmoke". Many have huge impact and really illustrate the nature of evil. Sadly, I don't believe any of the color episodes are out on DVD at the present time. JKH.
  5. Thank you for the posts everybody; I just found 69 good reasons to watch 2001 again. JKH.
  6. The Godfather The Godfather Part II (much debated because it was thought that Gordon Willis went too dark) Alien Raging Bull Indiana Jones and the Temple of Doom All are generally considered classics. I'm still working on those-no time for lesser known stuff now!
  7. Obviously casting is a major, major, major concern.
  8. You would probably be amused to find out that I do want it back for artistic reasons, and that crosses over into the territory that I am comfortable with: directing. I zone in on small things, like soft Mancini music playing in "The Pink Panther Strikes Back", or colored lights, or a scarf around the neck, or someone wearing sideburns, and then I want to make the whole movie like that. I think there were a lot of great 70s dystopia movies that were never made and should have been, and I want to fill out the decade before I get started with any mdern stuff. But that's off-topic and also makes me sound like a lunatic when really all I want to do is make a good film from my POV.
  9. The basis of my confusion is that oftentimes, people will say, "Just use these smaller lights and a faster film and it will come out about the same" and in reality, it doesn't come anywhere close. I am tempted to think that the slower speed and the very high wattage lights have a very specific impact on the final image. On the other hand, you have people who mindlessly adhere to a certain lens or a certain way of doing things without being open to a LEGITIMATE alternative that, to a discerning eye, would look just as good as these particular films that one admires. My attitude is that there's something about many, many films I have seen on 5254 ("The French Connection", "The Godfather", "Sisters", "Soylent Green", "Dirty Harry", "Jaws", and the list goes on) that is very intriguing. All shot very differently, but it's the similar qualities I am honing in on. Am I closed off to doing it in digital? No-but I am very clear on what I want and it would have to look significantly different than most any film shot on digital that I've ever seen. And of course the disclaimer to go with that is that I'm not a zealot and I have seen great looking films shot on digital-but not like 5254.
  10. OK, thanks for additional info Ari. I'll look into it! JKH
  11. Hold on; didn't say anything about garbage! Disclaimer: Still studying all this stuff. I will say I suspect that many elements of the 5254 look I like are unique to 5254. My primary interest is, in the absence of that film, what to do to get in that 100T, 1970s ballpark and I think the best teacher in that case is personal experience. I would go to great, great lengths to get results that actually legitimately look like like "The Godfather" and its sequel to a discerning eye on a huge screen (edit: Not the "restored version" which looks nothing like the film that I saw that is represented very well in the initial DVD release) I have a lot of way to go, but what I am hoping is that there are things that can be done, and I suspect that in this day and age, assuming I could get a very, very high quality and very, very lossless scan every step of the process (I don't know what that would be, 8K or higher?), then computers might nowadays be able to deliver a chemical-looking color grade that's more similar to 70s labs than today's labs. Grain could be manipulated. etc. etc. etc. It just seems like a lot of effort when they could just bring the film back. EDIT: And of course this is about the format, or aesthetic...obviously the cinematography and lighting itself has to be great. That is a whole other discussion, and it is the main reason I am on this forum: read, and learn.
  12. Am curious what "Star Wars" was shot on-it is a big mystery to me because the DVD release doesn't resemble the original at all, and even the '95/'93 masters were color-adjusted (which is what I am most familiar with) so it is difficult to tell. Based on my memory of 80s home video releases (not the most reliable, but better than the DVDs), it looked like different film was used for Tatooine (maybe 5254) than for the Death Star stuff, and I seem to remember 70mm was used for the special effects, although I could be wrong on that. ??? Edit: By Star Wars I mean 1977
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