Max Field

Lol have you tried Vimeo or Dailymotion? Youtube is actually very effective if you know how to engage quickly.

I remember Blade Runner was received very well for that.

I caved and did his homework lol. Not sure if you needed full paragraph answers or not.

I have a few friends in animation, would you say the process is a bit different for cartoons when it comes to shorts? Rather than getting a feature deal, getting a multi-episode deal.

Nowadays, could a well received short perhaps get you a deal with a company to produce a feature with them that they would then distribute? Or is the likeliness of that happening still next to impossible with only a short?

I feel intentionally adding something from your own culture/up-bringing, which could be clothing, makes a director's style much more fleshed out in the long run. Spike Lee is a great example of this, in multiple films (She's Gotta Have It or DtRT) Lee has some form of antagonist as a Boston Celtics fan or wearing a Larry Bird T-shirt. At first it seems silly to use your platform to denounce a professional sports club, but looking into it further it tells the story of where he came from and the emotions that surrounded in Brooklyn. As for a background character who's on the screen for 5 seconds, I can't really see how doing something fun (within reason) to their costume design can significantly devalue the efforts of a filmmaker.

Bit of a fun thread. Not sure if anyone else leans on this a lot, but when brainstorming for an idea I have a lot of fun thinking of what the talent will dress in. Is there a specific shirt/hat/pair of shoes you (or have always wanted to) shot your actors in? Whether it's something funny for the people who were behind it or something that's always represented who you were or what you loved. For me, it's always been high top Nikes or Jordans and the silly message shirts put out by Nike Air:

Got a 5-star rating, looking good so far! In the last few years I accumulated hobbies that wouldn't fall under the blanket of "cinematography" but still go back into the big picture of filmmaking like recording engineering and joke writing (and God have those helped getting shorts done). One random thing I picked up as a joke that ended up improving my dialogue was writing rap verses, really brushed me up on the ever important double entendre. Outside of that, I collect soul and hip-hop vinyls, been trying my hand in small-scale broadcasting (heavily influenced by the interviewing talents of Stern), and have played/watched basketball my entire life. Anyone else big on sports here?

So basically (in today's era) digital filmmaking but not bound to the conventional central storyline and instead uses visual technique or editing dexterity to be the heart of the presentation?

Sorry but I'm not seeing the difference between video art and experimental film-making. What am I missing?

Alright, thanks for clearing all of this up.

Would you say classical would be more or less than an old pop song? I feel like if the classical piece is relatively popular it would be used a ton thus making the price climb up.

I was wondering if anyone on this forum has had experience with getting the legal permission of a song from ASCAP and using it in one of their productions. Mainly wanted to get a rough estimate of what the license for a relatively popular song would cost, I know it's based on the nature of the product and how big the song is. I've looked all over the ASCAP website and none of the FAQs I've come across has given a figure. As always, thanks.

Yeah no his shot composition was extremely tight, payed very close attention to detail. However on the majority of his biggest pictures, he worked with cinematographer Jon Alcott. I've always wondered what percent of the visuals were Kubrick's input. Images like this give a rough idea of how high a level the duo was thinking: Also not sure if this is an unpopular opinion but I wish the first 45 minutes of FMJ were just their own short film.

Very cool, how close did you have the candle flame to the actors on set? In the abandoned house scene for example, were the many candles seen by the audience also serving the practical purpose of light flickering on the characters for that scene? Thanks again.

Cool concept! Would you like any production/planning help with it? I've done some tutorials on my channel as well if you were looking for someone to collab with.

Is there a word or phrase in the English language that could umbrella both cinematography and screenwriting? In the last year I've been getting more jobs writing for people than anything but I still have a useful arsenal of gear for shoots, would it come off as tacky to throw multiple positions on a single card?

I have been putting off getting a set of business cards made because I'm hung up on finding a nice short blanket term for my services. When I first started, I stuck with "Videographer". As time went on and I realized I had skills aside from shooting and editing digital video, mainly screenwriting and audio engineering. The heart of my question is, how many different jobs does "videographer" cover? And with "videography", does that create a connotation of only shooting commercials, weddings, and other events? Or can it include the mindset to do narrative or cinematic type projects as well? Lastly, any design/info tips for a videographer's card? Thanks

Sorry for necro-threading but I just saw this in full after only viewing clips back in high school years ago. To reiterate what everyone's already said 7 years ago; you did a great job, David. I respect anyone and everyone with the proper creative mindset to give visuals that Hollywood flare. This might sound lame when speaking of an era that was only 8 years ago, but the dialogue and licensed soundtrack really took me back to the late 2000's. Although it wasn't a period piece, productions that firmly market the concept of being "in the now" age like a fine wine. Queen bee of a high school verbally (and physically) abusing Goth/alt kids is interesting to see when most high school movies follow a "Revenge of the Nerds" type structure. Diablo Cody's writing, which I've heard labeled as "Juno-Style" multiple times, definitely had a bit of that Juno feeling. I've always tried to keep up to date with slang to improve my own screenwriting, and when analyzing her dialogue in lighthearted moments it seems like she's trying to create her own slang rather than letting art imitate life. Taking that creative endeavor is never something to be knocked for by default, but it's high risk-high reward in my eyes. An example would be when one of the leading girls refers to a boy as "salty (in the film, meaning beautiful)", however it's been widely accepted for at least 20 years that "salty" is slang for "bitter", "upset", "angry". Little things like that are only important to me when a film tries to present a culture, in this case, high school pop-culture of the late 2000's. Short-comings like that can be overlooked if there's merit in other areas, and there definitely were. Cody dropped amazing lines in this picture. Jennifer undoing a Goth kid's chain riddled belt and letting his trip pants fall to the floor is humorous in itself, but following it up with "Nice hardware, Ace." is fantastic entendre. What may have been my favorite part of the screenplay was when the same kid asked Jennifer if she wanted to see Rocky Horror Picture Show and she replied with "I don't like boxing movies". To David (if you're still reading posts on this very old thread), it's cool to express enjoyment for a project of any kind to people that have actually had a part in it. I had 2 questions for this one, and if an NDA (if still effective 8 years later) prevents you from answering either one, I apologize for asking. 1. There was a significant amount of fire/candlelight in this film, is 35mm film actually sensitive enough to pick up the real thing or is a crew member manually flickering an 1800k tungsten? 2. This being a comedy in addition to horror, was there a funny story or two that still sticks out in your mind nearly 10 years after production? Anyway, thanks for playing a crucial part in a great viewing experience.

You mean URSA mini 4.6K, right? Also did the BM4K have the same lowlight issues as the original URSA mini?

Could you link a sample of you trying to do it with whatever gear you have at hand? I've never done an illusion like this, but seeing it done both wrong and right could help people give more accurate input relative to your situation.

Worked with 422 on a windows PC (with well above average specs) and it runs just about as smooth as DSLR footage, if not smoother. Obviously easier to alter in post as well in contrast to a DSLR.

Agree with Bill. Most of the time, I can't really pick up on someone's dexterity with a camera off of still shots of nature landscapes.

This thread's mainly aimed towards the older guys who came up with film and were making money with the film process when digital started catching on. Please tell about your first time coming in contact with a digital camera that was suitable for a feature. What differences put you off/on the most? What piece of gear was it specifically? What was your first all-digital job and what were the emotions during that process? And lastly, if it happened, was there a specific moment you remember where you finally warmed up to the 1's and 0's of cinematography? If you could share your stories it'd be much appreciated. I'd ask my personal connections but none of them started when the industry was still primarily film.