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Dan Hasson

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  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. Dan Hasson
    My hometown! Yes you're right. A great example, The Blair Witch Project - being shot on hi8. It worked for the story. Even a recent film, As You Are, had some scenes shot in hi8.
  6. Dan Hasson
    Your films should represent yourself as a director. Not the medium they were shot on. What film school is this?
  7. Dan Hasson
    This is so right. Also Sanji, there is so much more going into making an image 'gorgeous' than the medium it was shot and/or projected on.
  8. Dan Hasson
    Yes I'm in England (I've seen a few other members who live here). From guys and girls I've worked with on jobs who are in the camera department, they have often started by working at a camera rental company (look at Shoot Blue, Get Set Hire, Arri, Panavision etc..). At first you spend a lot of time delivering equipment to shoots. This may seem unappealing if you want to be shooting, however you get to recognise DP's, AC's, Gaffers and so on. Get talking to them, let them know what you're interested in. They see you know equipment because you work with it all. Also if you're new to London then driving around it will help you loads! Its a big city with many studios and lots of locations for shoots. Often from there you can get into camera trainee work/2nd AC then work your way up. But I agree with Phil, the industry is in LA/rest of the US. If you can work there legally then you should do it. Best place to be.
  9. Dan Hasson
    Great! I've been having to put this film off for a while as finding a convincing looking enough dog has been a big challenge. Thanks.
  10. Dan Hasson
    One thing I've seen written that is great is even those who are considered at the top of filmmaking made a bad film at some point. Example: Kubrick's 'Fear & Desire' (1953). He considered it a terrible film. So terrible that he tried to destroy the negative and any prints. However its on YouTube. I thought it was okay but not that great. However he went on to make what some consider to be some of the best films ever. He is even considered to be one of the best filmmakers ever to have lived. So don't let your first film put you off. Learn from your mistakes. Get as much feedback as you can. Figure out whats good and whats bad. Then go and write something else. I've only ever made shorts (less than ten minutes long) and I like that. It means a project is shorter and if people or myself think its bad, I can move onto the next one quickly and try again. I watched your film and I noticed some flaws in it, but it was not unwatchable.
  11. Dan Hasson
    I was thought the scene with the kids and the voiceover was good. The scene in the car was well acted. It seemed very overexposed, like the windows were completely frosted. I wasn't that into the ending. I was a bit confused as to what the project is. Just a couple of picky ones: He's using a macbook. In this scene it says 2026 (present day). With the amount Apple changes looks of products, I couldn't quite believe it was the future. Although 9 years isn't a huge amount of time from now, it is still quite a lot for Apple products to change. In the next scene where he takes the pills, the sound of the water running sounds as if the tap has been turned. However the water is still flowing the same. Other than that, it could have been better but I wouldn't say its a bad film. Also Macks is right - of course its a film. Its the medium you've chosen to tell this story in.
  12. Dan Hasson
    New trailer is out and it looks great! I'm sure there will be a 70mm print in London. But I'm not sure what would possibly be a 'better' way to see the film. The choice being IMAX 70mm or 70mm. What do you guys think?
  13. Dan Hasson
    The wedding film looks great as well! Super 8 is great and you're right about the 18fps. I'm sure it helps.
  14. Dan Hasson
    That looks great!
  15. Dan Hasson
    Those are ASA speeds. Well if it does not read any of those speeds and you're using 50T, 200T & 500T stock then you should be fine. F stops is how wide open the iris is. Google f stop and go on images. There you will see what changing the lenses f stop does to the iris (sometimes called the entrance pupil). Bigger the number then smaller the entrance pupil. Smaller the number then bigger the entrance pupil. But there are tons of answers on Google and YouTube on f stops that are going to be more detailed than what I gave. Film speed, ISO (sometimes called ASA) is just how sensitive to light the film stock or the digital sensor is. So this is usually set first. If you want to use 500T stock, you will set that on the camera (or a handheld light meter if you are using one). Then you change your f stop according to what the meter reads. But remember that shutter speed also comes into play. I'm not sure how the Canon 814 XL works and therefore I do not know how to set any of these. Although I'm sure YouTube has a ton of vids telling you how to get a light reading. Hope this helps. I'm just wondering, have you shot on a camera before? Do you have access to a DSLR that you could play around with ISO, F Stops and shutter speed before shooting on Super 8? This might be a better way of learning before going to shoot on film.
  16. Dan Hasson
    Great article. The film vs digital debate (for me) is very boring. Its good people can now choose the medium they want to shoot on. So to have a film vs digital article not about the cameras is amazing. Digital archival needs a safe, future proof method. But who knows how long something will last. It seems impossible to tell.
  17. Dan Hasson
    I might be wrong, but does this look of the 60's you're after also have a lot to do with the lighting. Yes there is the grain, high contrast etc.. I mean the thumbnail for the Persona clip you have linked has a lot of contrast. If you have the time, maybe do some tests before production. Then have a colour grade and see what you need to do. Also try and find what stock these films were shot on (maybe Kodak Double X - I don't know) and see if there are good LUT's laying around the web.
  18. Dan Hasson
    Hi guys, I hope this is the right place to post this... I'm in pre production for a short that involves a dog. I need to find a prop of a big one (preferably a black lab). Has anyone in the UK been able to find good animal props for a relatively low price...? Thanks.
  19. Dan Hasson
    Grapes of Wrath was one of my first B&W experiences. Will always love that film. And if I'm talking about a Gregg Toland shot film I might as well throw in Wuthering Heights & Citizen Kane. More recent B&W pictures, I'd say Nolan's, Following. Nebraska is also a good film. Recently I watched Blue Jay on Netflix. Such a great watch. Good use of B&W but also a very well told story.
  20. Dan Hasson
    There are a couple of places in the UK Patrick. Check these guys out: http://www.on8mil.com/
  21. Dan Hasson
    John Seale is a great example of a retired cinematographer... Just go out and shoot the new Mad Max!
  22. Dan Hasson
    Rear Window! Although I guess that's more panning or tilting with a tripod rather than following (steadi or handheld).
  23. Dan Hasson
    David O'Russell (and the cinematographers who have worked with him) often use a steadicam that follows characters. His films are worth looking at for "follow" (steadicam) shots.
  24. Dan Hasson
    https://www.instagram.com/p/BO5RLBhhydU/?taken-by=kodak_shootfilm Watch this. Great to see Ektachrome packaging!
  25. Dan Hasson
    Amazing news. Looking forward to this.
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