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Thomas Luca

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About Thomas Luca

  • Rank

  • Birthday 07/08/1976

Profile Information

  • Occupation
    Director
  • Location
    Hunterdon County, New Jersey
  • My Gear
    PANAVISION PANAFLEX, ARRI ARRIFLEX 435 Xtreme
  • Specialties
    Director, Producer, and Screenwriter at DreamFactory Entertainment. http://Facebook.com/officialDreamFactoryEnt and at Imagination Workshop Studio, a division of DreamFactory Entertainment LLC, Hunterdon County, New Jersey. I hire teams of crew to work on films creating the effects and visuals. http://Facebook.com/ImaginationWorkshopStudio
    I've worn a few hats in my day but I'm still learning something new all the time. Like writing, directing, producing, acting, camera and editing. Animatronics, Special Effects, Miniatures, Matte Painting, Art Department, Painting/Airbrushing, Sculpting, Life Casting, Mold Making, Set Construction, Puppets, Prosthetic Appliances, Fiberglass Underskulls, Eye Mechanisms, Mechanical FX, Acrylic Human/Creature Eyes, Prosthetic Dental Appliances, and Bluescreen visual effects photography.

Contact Methods

  • Website URL
    https://about.me/thomasluca
  1. Here is the Answer. [on Kodak's new Super 8 camera and film in general] When I watch the news, I expect and want it to look like live television. However, I don't want that in my movies. I want our century-plus medium to keep its filmic look and I like seeing very fine, swimming grain up there on the screen. To me, it's just more alive and it imbues an image with mystery, so it's never literal. I love movies that aren't literally up in my face with images so clear there is nothing left to our imaginations. Had I shot it on a digital camera, the Omaha Beach landings in Saving Private Ryan (1998) would have crossed the line for those that found them almost unbearable. Paintings done on a computer and paintings done on canvas require an artist to make us feel something. To be the curser or the brush, that is the question and certainly both can produce remarkable results. But doesn't the same hold true for the cinematic arts? Digital or celluloid? Vive la difference! Shouldn't both be made available for an artist to choose? [2016] - Steven Spielberg
  2. [on film] My favorite and preferred step between imagination and image is a strip of photochemistry that can be held, twisted, folded, looked at with the naked eye, or projected on to a surface for others to see. It has a scent and it is imperfect. If you get too close to the moving image, it's like impressionist art. And if you stand back, it can be utterly photo-realistic. You can watch the grain, which I like to think of as the visible, erratic molecules of a new creative language. After all, this "stuff" of dreams is mankind's most original medium, and dates back to 1895. Today, its years are numbered, but I will remain loyal to this analogue art-form until the last lab closes. ~ Steven Spielberg
  3. "Protecting film, this profound analog art form, is a race against the clock, and The Film Foundation has been winning this race since 1990, when Martin Scorsese, George Lucas and I started to realize that the films that we loved were physically disappearing before our very eyes. From the aspiring artists that we were as children to the filmmakers that we are today, we are an organization thats fully committed to the preservation of works that not only inspired us back then to make movies, but that continue to motivate us." ~ Steven Spielberg
  4. Please connect, collaborate, work, talk film, whatever, with me here http://Facebook.com/lunchsfx http://Facebook.com/officialDreamFactoryEnt http://Facebook.com/ImaginationWorkshopStudio http://twitter.com/ThomasJLuca http://twitter.com/i_w_s_effects http://Instagram.com/dreamfactoryent http://Instagram.com/imaginationworkshopstudio about.me/thomasluca
  5. #KeepFilmAlive #celluloid #photochemical #film #35mm #65mm #16mm I am passionate about film. Let's keep film in filmmaking.
  6. Hey, how are ya. Wow, Thanks fellas. This was great reading. Lots of knowledge here. I am bringing back eighties filmmaking with an homage picture, we are going to film in Panavision Platinum cameras and Arri 435 Xtreme cameras on Kodak motion picture film. In fact, here it is, please check it out http://Facebook.com/lunchsfx #KeepFilmAlive
  7. And if I lived near your area, I would have taken that KEM off your hands. I want to find one in really good condition to collect and use if the right Cutter comes along.
  8. It is disappointing and a real shame. I am determined to revive film. #KeepFilmAlive I am producing and directing a picture in development now of mine that I created that will be an homage or tribute to the eighties with a smörgåsbord of special effects. We are going to pull out all the tricks in the bag on this one. Well, maybe not all, but a lot. We are filming in Panaflex Platinum cameras, Arriflex 435 Xtreme cameras on Kodak motion picture film. This is the film here, please have a look http://Facebook.com/lunchsfx
  9. Although I prefer and adore photochemical, celluloid, this wonderful medium, whether it be 16mm, 35mm, or 65mm, it is a tool. Just as digital is a tool. And we as filmmakers have this huge palette of choices now to create or paint our pictures like never before. Just don't go too far. Because you can muddy the picture. Too much CGI is not good I think. I will film on Kodak Motion Picture Film and in Panavision Panaflex and ARRI Arriflex 435 Xtreme cameras and lenses and Cooke lenses whenever or wherever imaginable. To help keep it alive and filming. "The most expensive habit in the world is celluloid, not heroin, and I need a fix every two years." ~ Steven Spielberg Another critical topic in motion picture history, especially nowadays, is the preservation of pictures. Some of the board members of the DGA, and they believe they started something worthwhile, and support probably what filmmakers should think is a most invaluable cause. And that is the preservation of film." ~ Thomas Luca http://www.film-foundation.org/
  10. Oh, here's a video I found that will definitely help. It's some of the masters of miniature effects in Hollywood history so you can't go wrong learning a thing or two from this video. https://youtu.be/htWY43bEYA4
  11. Not a problem. I'm happy I could help. Although I would strongly recommend setting everything up in doors in a controlled environment or studio or warehouse. You don't want any gusts of wind to ruin your shots plus can't control weather outside anyway so make sure it's all inside. You can use a fan, wind machine or even waft the direction of the billowing smoke with a sheet of cardboard. And utilising this technique can be done in almost any POV, you just have to do the research and calculations to get it spot on for the scene. It may take the better part of the day to complete but it will look beautiful. I wish you all the best to nailing the shot!
  12. I'm not a DP/Cinematographer, I'm a special effects artist by trade that has worked alongside effects cameramen, but I think I can help you? Ever hear of Forced Perspective? It's an age old practical special effects technique that I enjoy and still use whenever possible. Place your miniature in the foreground lined up with the billowing smoke back a few feet (you'll have to calculate exact distance, amount of light and f-stop required for maximum depth-of-field) furthest from the camera lens to give the illusion that it should by doing it in-camera instead of resorting to opticals or in post as they say these days. Hope that helps.
  13. Heh, really? Yeah I can imagine that going on. No scouting with a finder, just my eyes and intuition. Well, I appreciate your advice Michael, Thank you. It looks like Ill get the Alan Gordon pocket mini then. Hey, Happy New Year if I don't hear from you again.
  14. Online is ok, yes, but the real deal makers you will find in person. Like someone said already here, go to film festivals, a party or two, galas, get out and meet people for a real interactive experience and relationship in the industry.
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