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Dan Hasson

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  1. Dan Hasson
    Hi, So I've just got a picture lock on a short I recently directed. Anything I've directed previously to this has all been self shot and completely edited myself. But now I have been fortunate to have a crew on set and now in post, a sound mixer! I was under the assumption that the grade would happen after the sound mix. The mixer has said it doesn't have an impact on them. So should I just send off the film for the mix and I can get it graded after (in DiVinci), or do any of you think it should be done before? Also can the titles/credits be added after the mix? Thanks!
  2. Dan Hasson
    A 1080 finish should be good. A 16mm neg can have a bit more detail scanned in a higher res. I think a 4k scan is the going to be the best for 16mm, not sure a higher res would be worth it. For festivals, I think 1080 should suffice. Look into the festivals you plan to enter into and they should provide requirements on formats of your film.
  3. Dan Hasson
    Daniel's right about defining 'cinematic'. I don't think making something look cinematic is a good way of working when trying to tell a story either through stills or moving image. Unless there is no way you can change your projects theme. As for the lenses - stills lenses are different to cine lenses and so it can be hard to find what you're looking for. I've had some Zeiss P2 lenses on an A7s on a job. We used it to take a group photo at the end of the shoot and thats only because we didn't have any stills lenses. It didn't make the photos seem 'cinematic'. But you should look at other stills photographers work. See if there is anything that you think looks 'cinematic' and would be something that you'd also like to achieve in your own project.
  4. Dan Hasson
    Vision3 still film? Is this cinestill film?
  5. Dan Hasson
    I think there's something like this in Twin Peaks (season 1). An orange sunset at a beach and then the camera tracks to one side to reveal thats not where you are.
  6. Dan Hasson
    The beginning of Tamahori's, Once Were Warriors, opens like the way you described. You can watch it here. Its not a beach but its a beautiful New Zealand landscape.
  7. Dan Hasson
    Here is a list of films post 2000 that were made without a digital intermediate. So they went through a photochemical finish. I'm sure there are more films on that have not made it onto the list. But this is still interesting to see what films avoided a DI. But also get in contact with Cinelab London. They're very friendly. They might be able to tell you if any films are not using a DI. I am not sure if any films are go through colour timing (photochemically) there, but it never hurts to ask.
  8. Dan Hasson
    I never noticed any of these 'digital soldiers' at the 15/70mm projection. In fact I never noticed the cardboard ones - which seems to be the point. They are so small and so far in the distance that you're not meant to notice them. But that was just me, maybe other people were able to notice them. With the 5/70mm scenes, I only noticed it once as I happened to be paying attention to a certain part of the screen and I saw it had cropped off. But the 15/70mm projection was so big that you'd have to be paying a lot of attention to the edge of the screen to notice the change in ratio.
  9. Dan Hasson
    He used cardboard cutouts like John says. I don't believe there were any 'digital soldiers' as pretty much everything was done in camera.
  10. Dan Hasson
    I went to see a 15/70mm IMAX print today at the Waterloo IMAX in London. Incredible! I liked the film but there were some parts I was not too keen on. I don't want to spoiler anything for those yet to see it. I will say that the parts of the film I was not into were not that bad in comparison to how good the rest of the film was for me. There were parts of the same scene that looked a bit off to me, a shift in the lighting and/or colour. I don't know too much about film projection though so I don't know why this was - it certainly didn't seem to be an artistic choice (although I can't question that). So I'm waiting till its home release to be able to re watch and see how this looks. Seeing something projected that big is special. And the sound. Wow. That was amazing!
  11. Dan Hasson
    Thanks Tyler. I'll look more into the Aaton but from what you say it sounds like the camera to go with. Thanks Chris. I'm definitely going to look more into using an XTR.
  12. Dan Hasson
    I have a script ready. I was just lucky enough to get my hands on some 400ft mags for cheap. So I bought them and believe they'll work for the story.
  13. Dan Hasson
    Thanks for all the responses guys. Really helpful. I just wanted to use a bolex because I thought they were smaller/lightweight. But if an Arri or Aaton is the way to go then I'll look more into those.
  14. Dan Hasson
    Recently I acquired a few rolls of 16mm. 400ft Kodak Vision3 200T. I'd prefer to shoot on a Bolex to say an Arri 416, SR3 or Aaton (because I'd prefer a smaller camera). However I'm not not sure on a couple of things: - Can 400ft rolls be used in a Bolex camera? - Can I use a Bolex camera to shoot Super 16 instead of regular 16? Thanks, Dan
  15. Dan Hasson
    Link to original article. Interesting news. It should be cool to see how Anderson takes on the role as well as writer/director. What do you guys think of this?
  16. Dan Hasson
    While sensor size/film gauge affects your DoF, there are of course other factors to what affects it - distance from the subject, t or f stop, focal length, light & composition. But then your t or f stop is affected by you cameras/film ISO. But the wikipedia page can help explain it a lot about DoF for you: https://en.wikipedia.org/wiki/Depth_of_field
  17. Dan Hasson
    Brilliant trailer Jeff. Very much looking forward to seeing the film. But that music sounds like Hanan Townshend's score from 'To The Wonder'..?
  18. Dan Hasson
    I've prefer playing something on the screen thats in black & white. This works as long as you're not showing what's on the screen. Also if you're using lights to replicate the light coming off a TV screen, then don't have it flicker like a lot of people do. This may just be me but I find that if I'm watching TV, the light does not flicker. Unless of course you want the flickering light for one reason or another. But realistically I don't think TV's do this.
  19. Dan Hasson
    I've found a sound recordist so no need to comment on this topic anymore. Cheers, Dan
  20. Dan Hasson
    Thanks Phil I got your message.
  21. Dan Hasson
    So I guy who has recorded sound for me on shoots in the past can't work on a short I'm making in a couple of weeks. I'm wondering where is the best place for me to advertise for a sound recordist in the UK? Has anyone here had to do this before? Thanks
  22. Dan Hasson
    I'm not sure how old you are, but just a little heads up that you usually have to be 21+ to be able to drive the rental companies vans.
  23. Dan Hasson
    I saw an article on Gregg Toland recently on American Cinematographer. It talks about how much he was earning at certain points in his career. Article here But David's point is right. I can't think many top cinematographers would discuss it, or many on here maybe... You find even asking people (who do not necessarily work in this industry) like to discuss how much they earn.
  24. Dan Hasson
    I get you can still be a van driver for a while Phil. But its about the person. Like Robin says, meet the AC's get in there. Its all about personality. Also if not that, then start as a runner. I've been doing running work for a while now but have managed to get myself on jobs as clapper loader. Just got to get friendly with people and hopefully they trust you enough to work in the camera department. The van driving thing has worked for a few of my friends who are now 2nd & 1st AC's. You are right though, you might be a van driver for a long time, but like I said, its about what you're like as a person and the people you meet.
  25. Dan Hasson
    Look for a job at a camera rental house. They usually require you to be 21 to be able to drive a van. You might be doing a lot of van driving at first. But you'll get to work and be familiar with all the cameras, lenses, lighting and grip gear. Also driving will get you familiar with London and all the studios/locations in it.
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