Jacqueline Donaldson

Hi Ivan, well in HK there is not much in the way of practical post-graduate film courses - the most respected school of arts here would be the APA. http://www.hkapa.edu/ They run an undergraduate film course - I think it's in English, but it sounds like you've been studying film for a while now so might not be worth while - they run lots of short courses in film production and I've been wanting to take some - but it seems that all the short courses are all conducted in Cantonese. I don't speak it. I just heard that several years ago there was about 400 films being made in Hk every year - and now there are only 40 films being made here every year - No wonder I've been feeling that nothing is really happening here. The last film I shot was nominated for a new film fesitval/competition, this was their first year - there are now 2 competitions here, I think.A bunch of us are really trying to get independant shorts of the ground here and hopefully start working up to independant features being made here. It's an uphill struggle and we all have day jobs. Most of the practical courses you can find in HK are short courses my friend has a school; www.storyhongkong.com, there is also a year diploma and short DP courses at; www.filmacademy.com.hk. The rest are academic courses in film & cinema studies. I have heard that Beijing has a good school. the Enlish website is ; http://www.bfa.edu.cn/bfa_english/ I can't seem to get it to work, and the regular chinese one doesn't have an English button. I read that they have 100,000 applicants and only accept 400-500 students per year. They do have a cinematography programme. Hope this helps a little, David- I'm also applying to the NTSC for 2008, so working hard to get that showreel up to scratch! I wish you both luck in you applications. Jacqueline

Thanks Stephen, I'll put that on my list to take a look at. Jacqueline

Hi Jon, Thanks for the great advice, I really appreicate it. Jacqueline.

Hi Jon, Thank you for the good news regarding work in London. London is another option I have been thinking about - and i've been considering trying to get a job in a rental house. Should I look for a rental house job and spend a year doing that - or do you think I should just do some volunteer work with one and then try to network through AC's and start crewing? If I wait till later this year, I should have enough money saved to go without work for a while and I think I can lodge with a friend for cheap in London. I have plenty of experience using and lighting for DV and HDV cameras , but not very much loading film cameras (just dummy rolls) etc... although I have some experience operating and some focus pulling. I love operating cameras and would love to take the AC route to being an operator, but I don't feel experienced enough to go in as a loader and I'm sure no-one would trust my inexperience. I've been trying to figure out for a while now how to get from where I am no, to the point where I am able to sell my self as a 2nd AC / loader. Early this year - I flew to Australia to take an intensive 35mm Cinematography course - and that really taught me alot, gave me confidence in new skills and I got my hands on the camera for a while - but how do AC's gain their skills? I've read loads of AC books, I've looked at aking short courses etc...but it all leaves me with a feeling of not really being equiped to do a great job. Any thoughts? Thanks Jacqueline

Hi Richard, Wow, that's harsh! It's hard enough getting your foot in the door in the first place, never mind the unions putting the boot in. I've found out that I do qualify for a non-student 12 month working holiday visa and if my current plans fall through this coming year - I'm thinking about doing that in 2008. I will be very happy to get some work on non-union low budget productions to expand my experience, have something different for my showreel and work with new people. Thank you for all the information, Jacqueline...

Thanks for the replies, they have given me some things to work on. Richard, you mentioned having to be in a union to work on big productions-does that mean I'd have to try to join a specific union over there or if i'm in union over here, i.e - I'm a member of BECTU (Broadcasting Entertainment Cinematograph and Theatre Union) which is the British film Union, does that cover me? Does it count? Thanks, Jacqueline...

Hi and merry xmas to everyone. I am planning a strategy for 2007, trying to get back into working on real productions and getting paid for it. I used to work in independent production in the UK on the production /AD side. I've now moved back into camera which has always been my love, and although I am sometimes paid for my camera work here in HK, it's usually small corprate stuff and I'm not learning a huge amount more than I already know - I occasionally get to try out a new HDV camera etc... Anyway, this year I'm setting more ideas into motion, applying for my MA in cinematography, applying for a camera apprenticeship - but one of the more out there ideas I have is going out to Vancouver for a while and trying to freelance on crews there hopefully on the bottom rung of the camera dept. Video Assist or something similar - but hell, I'd be a runner if it was offered! I'm not sure if this is insane or not - I'm not tied to anything here, I don't have a house, cat or boyfriend and I know they shoot alot of stuff out there, and considering I live in the reknown cultural desert called Hong Kong, it's seems like there is work to be had. I have a friend who has invited me to stay in Vancouver for as long as I want, so money is not a huge issue, but the big question is how do I go about getting work, should I just go and try my luck, should I try to organise something in advance? I spent about 5 years travelling aroung the world by myself in all sorts of strange places like Pakistan, inner mongolia and the jungles of sumatra - so I wouldn't be too worried about just taking off and going. Also, does anyone know what I do about getting a visa after all freelancing is not steady etc...I was thinking about a one year working holiday visa - because I'm from the UK - but apparently you have to be a student to get that! Whatever??? Maybe I'll try to figure that one out. Anyway - I'm hoping someone will have some words of wisdom to help me refine my plan. Take care and have a great New Year! Thanks Jacqueline

Hi Morgan, thank you very much for the information, it helps alot. It's hard to tell what state the film industry is in here in Hong Kong, I work part-time as a drama teacher and shoot independently funded projects as well as some small commercial projects neither of which would suit someone looking to make a career out of filmmaking, but is great for building a showreel. If you listen to most of my friends and fellow film-makers, the industry in Hong Kong is in a terrible state, but on my frequent visits to the biggest rental house here - Salon films - they always seem to be preping to fairly big shoots. I believe most of these are local Cantonese language films, and there maybe language issue problems with working on those. Occasionally an international film will shoot here - they recently wrapped, 'Irreversi' directed by Michael Gleissner, and most of the crew employed locally were production staff - not the DOP or camera etc... I know that Chris Doyle is based locally, but shoots all over asia, alot in China and I've heard that he has taken on Cinematography graduates from Austrailia as his assistants in the past - Perhaps try to contact him through his agent (I can't find that info at the moment but if you can wait I will dig around more on that for you when I get back to HK - I'm in Scotland for Xmas. Dean Head is also a fairly prominant DP in HK - here is his web page - he might be able to give you a better view of working as a DP out here. Here is a link to the Cinematography page of the Hong Kong Film services website - I can't seem to open Dean Head's webpage - but the rest of his info is there and there are plenty more companies to contact on this page - http://www.fso-tela.gov.hk/dir/production_...ng&sort=eng I think China would be a better place to start a career than Hong Kong - simply because of the size of the country and the fact that the chinese film industry is getting bigger. I would reccomend that you try to learn some Manderin if you seriously plan on going there to work though. I will put my ear to the ground when I get back at the begining of Jan... A friend and myself are currently running two meetup groups in HK, one for actors and one for filmmakers - both have a variety of members, some newbies to filmmaking, but some are industry people looking for talent. visit us at these addresses : Filmmakers meet up - http://acting.meetup.com/252/ The acting meetup is much more established with alot of members etc... http://acting.meetup.com/3/?gj=sj35 Hope this gives you some insight. I do think that most of the work in HK is corporate video stuff, most of us little baby fish are thinking that the only way we can work here is if we create our own film industry, hence the meetup groups etc... I'll post more when I return to HK. Jacqueline... Here is the last thing I shot in HK - It's an experimental 'danced poem'. We shot it on a Canon XL1 over a 24 hour period - I used available lighting only and all effects are done in camera. http://youtube.com/watch?v=lQ1p-fqe2sE Jacqueline

Hi, I applied to The National Film and Television School, in London for the MA in Cinematography last April and was (surprise) rejected - I'll be the first to admit that my showreel was appalling as I hadn't shot anything for several years and rushed a couple of pieces together and sent it - but I just wanted to give it a shot. I'm trying again this coming year with a much, much better showreel and would like to know if anyone can give me any tips on how to stucture my showreel effectively, they say in the applications materials form that all films must have a title and credits etc...but this takes up so much time, leaving me with less, the wording on the materials form is worded like this; ? all submitted material must have titles and credits at the beginning and the end of the film or tape. I'm still not sure if this means if I submit just one film I should put titles etc...at beg and end of tape - but if I show several films I must put titles and credits at begin and end of all?? The showreel can only be 15mins long, this will take up lots of valuable space??!! Should I put the best sections of each film, make a mini trailer of each film or what?? Should I mix shots from different films to show contrasting styles etc...? Any advice about applying to this particular school would be invaluable, thank you, Jacqueline.

HI, here is a link to the final edit of our shot experimental film, 'Blindfolded'. There are several changes in the sound/music, the visuals are the same as far as I can see. Jacqueline... http://youtube.com/watch?v=lQ1p-fqe2sE

Hi Karl, I shot this on the Canon XL1, used a clear filter on the lens and painted on vaseline in 2 ways (one with a blured ring around the outside of the lens and the centre clear, and the second with the centre of lens blured and the outside clear and in focus, with the size of what can be seen through the lens, more or less depending on what we wanted to character to be experiencing. I used availible lighting only and almost everything was shot hand held. There maybe another slightly different version coming soon - I haven't spoken to the director for a couple of weeks as I'm on holiday in India - but she maybe be tweaking a little before it's complete. My idea was about focusing intensly on the dancer in her beauty and passion, her soul, but isolate her from the world she is living in and vice versa - sometimes she is a blur of energy and passion, she still exists, perhaps she's fighting to exist but she is completely unrecognisable, unnoticed to and by the people / society around her. Jacqueline...

Hi everyone, here is my most recent work as a DP. The work was experimental. http://youtube.com/watch?v=_JM8i39SbKk I started shooting again this year after a break of about 5 years and decided to put all my passion and energy in to Cinematograpy - before I did producing and production managment on small tv projects, theatre projects etc...but I've always just wanted to have my hands on the camera. Any comments are most welcome and I hope to put more of my work up here as I progress. Thanks, Jacqueline...

I was wondering how the monochromatic look was achieved at the end of the 100th episode "reckoning", I'm refering to the scene in the graveyard - it was very monochromatic but with highlights of colour, like the flowers etc...is it bleach bypassing or digitaly enhanced, also what kind of programe could I use to highlight certain colours in post - I use Premier pro at the mo and can spot light - but nothing so specific. Also what shutter speed do you think they used for the slow mo? thanks JAcqueline

Thanks guys

Hi, I shoot alot on DV and just started to use HDV - I usually light to the f-stop I want depending on what depth of field I want etc...I'll then usually eyeball it until I'm happy, but I'd like to start using my lightmeter for several reasons, to be more acurate in my lighting, to gain a better working knowledge of my meter and start to build up more complex lighting skills. My question is, what setting do I use the meter at with video? I assume that the shutter angle remains at 180 degrees, what about the shutter speed, I recently shot on a Sony ZP1 HDV (PAL) and used the cineframe 25 function - we all know it's not true progressive, so I'm a bit confused about what I should set my meter to? And Lastly what ISO/ASA setting do I use?? Thanks Jacqueline

I like the idea about the coloured water - we need lots of colours, gel is expensive and we could easily do that - i'm thinking that I could put up a horizontal pole beween 2 stands and hang several bottles of different coloured water on that and then we could move the bottles according to the colour shifts and light movement we require, I'm not sure if this will work best with HMI's or with PARS - I'm thinking PARs as the beam is narrower will be more suitable, what do you think? I am still wondering about how to obsure the window as the camera will definately be catching some of that, if I use tracing paper is that going to completely destroy the light effect created by the water? Also the dierctor keeps talking about using vertical blinds on the windows to break up the light - we did this in our last shoot and I think we should go for something a bit different and more natural like tree branches etc... but I like the idea of just using the water. I've called the rental comp to go and do a couple of tests, so i hope I can work this out, but any experience you guys have is great. Thanks JAcqueline

HI thanks everyone, I was thinking about actually putting it on the windows and having the HMI's a fair bit away, the room is quite a small space - I guess, I'm just going to have to test it as best I can. Also, alternatively what kind of tracing paper can I use to obsure the windows? I can't afford the real stuff. Thanks again. Jac

Hi there, We're shooting a short film and I'm setting up some large coloured or gelled lights outside 2 windows - I initially thought about using tracing paper on the windows or hampshire frost - but I 'm wondering if bubble wrap might enhance the look I'm going for - firstly I want to obscure the equipement outside the window and we will be doing 360 degree camera movements secondly - the world is about to end and the planet is burning up - will bubble wrap on the windows distort the light enough to throw blisters of light on the walls and actors etc? and how intense will I need to make the lights - budget is a factor - so I'm thinking 2x 2K HMI's but alternatively I'm thinking about 2 or 3 coloured stage lights outside each window, the light spread is much narrower but perhaps a more intense beam, will this enhance the look I'm trying to create? Thank you for any advice. Jacqueline

Thanks, I have the camera manual and spent a little time with it at the rental house - will have it for a few hours the night before we shoot. If I'm shooting with cineframe 25 should I still use a 1/4 soft F/X to enhance the look - I'm down with the focusing problems that occur with filters - I've shot alot with them and always get my assistant to shout "focus" to me before we go for a take when using a filter - it works. Jacqueline

Hi there, I Dping on a short film shoot at the end of the month - we've just decided to go with the Z1P - I've never shot on this camera and never on HDV . I've been looking back on alot of posts on the site and I'm getting more & more confused about what I should be shooting at to achieve the best look this camera can possible give. First of all I'm shooting on PAL and as far as I can I should be shooting at 1080i / 50i and then downconvert to 25p in post...is this correct ? and what shutter speed would I set this to? OR does PAL cineframe 25 produce a good look? and would I still be shooting at 1080 with that?? OR Can I shoot at 25p with 1/50th shutter? What would this look like? Thanks - totally confused & no time to experiment or test. Jacqueline HI again, forgot to ask - usuallly when I shoot on DV I will use a filter to soften the video look, I've used either a 1/4 soft F/X, a 1/4 warm black pro-mist or a 1/4 black promist. Do you recommend doing that with HDV or does it really look great without it - I'd rather avoid filters if I can and get a well exposed clean image - but if it will make it look incredible then I'll go for it - what would you guys do? Use a filter or not? jacqueline

Go it thanks so much - Jacqueline

Thanks guys, We have decided to shoot on the Sony Z1P - we couldn't get the footage of the P2 cards without very expensive additional software. Now looking for an online printable Sony HVR-Z1P manual ? Anyone know where I can download one? Thanks JAcqueline

Hi guys, Where can I get a printable manual for the HVR-Z1P ? Thanks Jacqueline

Hi there, We're shooting a short in a few weeks and were just finalising our camera choice (we were going to rent a) Sony HVR-Z1P HDV, however today we found out for the same price we can get an HVX - 200 ! I nearly fell off my chair - both myself and the director want to shoot on this camera - I'm DPing and I've never shot on HD - is this going to be a nightmare?? I don't want to throw away the chance for such a learning experience with a great camera and the director agrees with me and trusts me. Problems are already creeping in - we are based in Hong Kong and aparently we can only shoot in 1080i as the 720 PAL System is not compatible with computer systems here (I think??) and the PAL 1080i isn't true 24p like the NTSC camera, so I've been told by the technician in really bad English - I can't speak Cantonese. Also off loading the P2 cards - is this troublesome? We shot some footage on a P2 card at the rental house and are going to see how the off load goes. So what i need to know first is if i can't shoot in true 24 prog then what do I do to get that "film look" - would I shoot at 1080i / 25 cineframe ? Anything else that I should bear in mind before going ahead and booking the camera?? Or should I play it safe and shoot on the Sony (at least all the footage is on tape?) We are financing the project ourself and not only are we trying to make great films but we want to learn as much as we can too. Thanks for any advice and support - Jacqueline...

Hi guys, hope you can help give me some ideas with this one - I've got a few ideas , not sure they will work! I'm preping for a shoot and we want to have a visual shift in strong colour during a shot, this will happen several times throughout the film, we're shooting on mini-DV. There is no budget so we can't use several lights gelled with different colours in the same area and dim one while dimming up the other, which was my original idea I was thinking about building my own large gel frame ladders (so to speak) and have an assistant shift the frames up and down to a specific colour manually at a specific time. These are the key daylight HMI's outside the windows of our location. Also, the director would like the light to be broken up - a venetian blind pattern etc...but he also wants to use a white blind on the windows to stop the audience seeing outside and we are using several devices to do long 360 degree shots and doing alot of hand held camera. We've discussed whether the pattern will successfull be projected through the blind as it acts as a diffuser...our other idea is that we buy actual venetian blinds, tilt they to give the desired effect and it will should also prevent the camera from spying our equipment outside - will this work - I've got no money or resources to experiment with the idea before we shoot. I 've suggested it might be nicer to use tree branches to create a more uneven natural look, but again we have the problem with seeing through the windows and perhaps seeing the equipment! Am I crazy or is there a light out there that can perform like an HMI and change colour too?? Thanks for any replys guys. Jacqueline.