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Vital Butinar

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About Vital Butinar

  • Birthday 11/13/1981

Profile Information

  • Occupation
    Director
  • Location
    Ljubljana, Slovenija

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  • Website URL
    http://www.m2mproduction.com/

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  1. I do some work in Davinci Fairlight. Maybe I can help.
  2. I think he might be referring to shallow depth of field vs deep depth of field. That's what I meant when I said soft focus when I started with photography.
  3. I agree that it can get depressing. But a friend of mine keeps telling me that you just have to push forward and keep on kicking and then things happen.
  4. My girlfriend who's actually a sculptress, but didn't have a studio for a couple of months decided to create some hand drawn illustrations for a children's book. She sent out a couple of shots to a publisher and a lady publisher got back to her the next day. She said that they were super interested and that my girlfriend should get her the first draft asap. But on the other side in the filmmaking world I was lucky enough to find a producer who started working with me to get my screenplay up to Hollywood specs and then we went forward with finding distribution and financing. But the coronavirus threw a little wrench into the whole situation. As far as commercial work I do agree completely because I've been sending out stuff to agencies for years and almost never get a reply.
  5. Well my girlfriend is a DP and shoots on all my or should I say our projects. We've got a similar setup but a Pocket 4K and a Moza Air 2 and she's able to operate the gimbal and pull focus efficiently at the same time. But she's had a lot of practice and yes sometimes it takes a couple of tries to get it done well. She's worked with a focus puller before and said it was OK since she was focusing on framing the whole time and movement but still she says she prefers the control of pulling focus herself. So it can definitely be done. But I think one of the key things is to keep it in mind even when doing blocking or constructing shots. By the way how's the 6K Pro working out with the ND's and screen. This is the main two things we miss on the P4K.
  6. Well my girlfriend who is a DP used to be a makeup artist and she says that in most situations it's really good to think about the makeup when thinking about the lighting. For example a couple of years back she still did some makeup gigs and a group of guys who were shooting a calender with a bunch had this weird lighting setup and then an even weirder color grade makingit look like the eye further from the lens was smaller or something. But because they didn't tell her or talk about it she could not have know so she was really unhappy about it. So yeah she always coordinates with the makeup artist before we shoot sometimes even way in preproduction when we're doing the shot list. But we usually use the makeup artists.
  7. Actually a really interesting question. I'm not sure I can be much help but I do remember one time when I was working as an extra on set of a commercials to get some experience and observe. They had a bunch of tanning beds (don't know if they were real or props) but I do remember talking to a lighting technician and I think the guy told me that they put in kino flo bulbs or something like that and that there were no UV bulbs anywhere. Good luck with your shoot.
  8. So this band for who we make music videos wanted another video but the whole country got shut down for months. After five months of almost now work because all the businesses were under the impression that we weren't allowed to work one of our genius government officials let it slip that we actually could work so the whole country started up again and we decided to try and produce the music video we had started five months earlier. Anyway the look was inspired by the Tony Scott film Unstoppable since we wanted the video to give a creepy vibe so everything from the story line was shot in 12fps and then projected in a 24fps timeline and we used a wide open shutter to create a lot of motion blur. The original plan was to have the girl walk trough a moss forest trough different scenes and to have basically a fake one shot with a couple of cut a ways shots but because of the regulations we weren't able to have as many people on set at the same time so we went another way and shot everything in sections and did some creative editing. I'm a little sad that we weren't able to shoot a one shot because it would have been great.
  9. Wow looks great. I love the warm light from the window because it gives a nice afternoon type feel to the video. Congratulations!
  10. That's great! I've got the Pocket 4K also with the Viltrox focal reducer and a bunch of Rokinon prime lenses. Not much but I love it. My girlfriend and I have some rudimentary equipment that we use when we shoot our own stuff. Tascam DR60 and a boom mic and a couple of red head lights. But usually the basic stuff that we've got is usually enough to start of doing something nice. Well again congratulations again.
  11. Oh that's cool and congratulations on giving yourself a challenge to learn from the experience. I'm actually planing something similar in about a week, just because I and my partner have some down time and I want to play around with something I intend to use in a feature later on in the year. By the way very nice grading. What did you shoot on and edito/grade? (I saw in another post you had a BM Pocket 4K guess you used that one) How much time did you spend on different aspects of the film? Regards
  12. Well as far as requirements go I think they're different and don't necessarily need to turn a profit. I think the requirements are more along the lines as you said like having productions represented by different countries or having the film have special cultural importance for the country. Or something like having a lot of women on your crew. Which in my case is not a problem since my DP, editor and colorist is my wife. Then my co writer is also a woman and my wife's sister is one of our producers and production designer. So we're well covered. This is what I'm hoping to get my film funded this way and sponsor funds or maybe get funded by the streaming service, but the film has to be commercially viable. As far as education goes I think it only has any impact on the project unless with our national fund. But the thing that pisses me of is that most of the people I see who are involved with projects don't have a formal education in film and I think they only use it more or less as an excuse to turn people down who are not from their own little club. Other than that I think education plays a very small role and even worse is that when we work with people on different projects, I find it very frustrating the low level of education of people. I would expect people that have been working in the industry to have more knowledge and what's even more frustrating is the lack of width of knowledge. People seem to be very focused on their job and not much else, even people who you'd expect to be able to do that and at the same time not very enlightened and knowledgeable in their own field. Of course this doesn't apply to everyone, but rather to a very large segment of people which is worrisome. At least to me. I'll send you and article that I wrote a few months ago in a privet message. Anyway I hope I've helped some and I can hopefully tell you a little more in a few weeks time.
  13. Yeah. That is something I agree with 100% and a really good point. 🙂
  14. My partner and I actually use a three screen setup most of the time because it makes it easier to have the clips, info or scopes open on one screen, the timeline on another and a preview on the third screen. But to be completely honest a few months ago we moved and for a couple of months we only had the one widescreen monitor and we were able to work without any problems. It is beneficial seeing a larger preview of what you're doing.
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