James Steven Beverly

Then you should be able to shoot a film CHEAPLY in Detroit. Do you write?. If so, use what you got. I can see several story ideas for the Detroit landscape. The first title that pops into my head is "Death of the American Dream" a film about a group of friends dealing with poverty and loss of hope in a once great city. I can see a comedy dealing with all that is Detroit in the modern age. There seem to be a myriad of possibilities for your area. Detroit could be a metaphor for America. My mind races at the possibilities of the decay of an Iconic city torn asunder by corporate greed and globalization. It's a story ripe for today's brewing discourse and disillusionment. All you gotta do is figure it out, put it on paper and shoot it.

There is a "Please critique my work" section on this forum, just scroll down the categories and you'll see it. That's really where this post belongs.

Without European nations and other various countries throughout the world, who would we steal movie ideas from? :rolleyes:

You DO realize, this is a PROFESSIONAL forum and your REAL NAME is required. If your looking to trade you hobby status to a more professional situation, you MIGHT want people to know you and your work.

LOL, I thing you're underestimating yourself there, buddy. He's asking you because YOU do this kind of thing for a living. I LEFT a university education because I wanted to be an actor and they were teaching me to be a teacher. (GOD I hate Texas.) anyway I got better experience in the real world than I ever could have had in the so called higher education I was being given. All I've learned as a film maker comes from practical experience and self education so I consider myself a student of the James Cameron film school, to paraphrase, 'I learned all I ever needed as a film maker for a dollar ninety eight in late fees."

IF you want a degree, get the degree. There have been GREAT cinematographers that have had no formal training with the exception of the BEST training, which is experience under a great cinematographer. There have been GREAT cinematographers that have attended prestigious film institutes that gave them everything they needed to succeed. There is no ONE WAY to achieve your goals excerpt the shear tenacity and strength of character it takes to achieve them. The road is well defined, it starts with camera department or lighting department PA and a good attitude even when you're being blamed for things you never did. it's working for free to add to your knowledge and resume', it's working your way up to camera assistant and / or lighting grip and / or best boy lighting / camera operator then DOP then as I see it, finally a full fledged cinematographer which to me denotes the highest expertise in the field possible though some will disagree as the two terms are used interchangeably. I see the "cinematographer" credit bestowed on someone as an acknowledgement of the artistic talent that has been shown above and beyond the expert mastery of the artisan's experience o his tools, but hey, that's just my opinion. Do what you have to, so long as it's not immoral or illegal, to get done what you need to do.

I just saw "Argo" yesterday (hey. I lost HBO for a while, what can I say.) If ANYONE thinks Ben Affleck doesn't deserve an Oscar, watch this movie!! It also has one of the greatest line in film history: Tony Mendez: Can you teach somebody to be a director in a day? John Chambers: You can teach a rhesus monkey to be a director in a day. I about busted a gut with that one. Great stuff. I know I'm digging up old news but it's news to me. If my script on a similar subject is HALF as good as this, I'll be a happy man!

The circumstances surrounding this project where nothing more than plain bad luck. How in the world could anyone have expected a once in a blue moon flash flood in the middle of the desert that would have destroyed the location and equipment? Similar events happened to both Spielberg and Coppola. Who would have expected the perfect actor for the role would underestimate the physical rigors of the part and how fragile his health was. Again, similar circumstances happened to Ridley Scott. Being an actor, myself, I would push myself to my limits to play a great role and one never knows just how much one can endure until is pressed to do what is required. I crashed a motorcycle once a short time before a performance, tore the hell out of my elbow and ankle. I went to the closest doctor we cold find, got sewn up and went back to do the show. By the time I was able to get back, the show had just ended so I missed it anyway but it was not for lack of trying. My point is that ANY actor would have most likely pushed himself further than he thought they could or should have. It's in our blood. Man of La Mancha was a noble effort that simply was cursed by the film gods. I personally would have loved to have seen the completed picture, but it was not to be. There is a glimmer of hope that Gilliam might at some point resurrect the project, though the odds are slim at best, but one can always hope. B)

Probably noise. When we ran the dollie straight on the track, periodically, there would be a rubber squeak. Also it could have been harder on the dollie's tires. Just a guess. Yeah, Moviola was BIG into dollies back in the day. They always has a reputation for being heavy though which I suppose they must have had to been with those old Mitchel's and other huge cameras they had to carry.

I would say it depends on the camera you're using. I have 35mm film cameras so I own a McAllister with the hydraulic riser. which is REALLY COOL! I got a really good price on it. It's a little bigger and heavier than a Fisher or Chapman studio dolliie but infinitely functional, even with skates installed for steel track. I probably paid less that 1 week rental for it. I also own a 15 ft' Vinten ride on camera crane that will easily hold two full grown men with a studio camera. It was designed for 60s / 70s television cameras but I'm modifying it to add a 1st A/C seat so focus can be pulled. It's HEAVY despite being made primarily of aluminum, but very stable and maneuverable.with a REALLY tight turn radius. I love it because it has these 60s dragster style wire front wheels that make it look too cool for school! Now, with light weight video cameras, we use a skateboard dolly on dollie track with a counter balanced crane arm that I actually built. We used that on our sizzle reel for "The Hunted". It had a cable control system that I built. It was hit and miss so we took that off and just let the camera operator physically control the crane, pan and tilt movement while the dolly grip and DP controlled the dollie move and lighting. The results were amazingly smooth and effective. I was originally looking for an old Moviola camera dolly but those, from what I've heard, are beasts and much more difficult to load onto track due to their weight. They were actually designed to roll off dollie track on smooth concrete or dance floor. They were prone to the occasional camera shake. If you watch the original 1931 Frankenstein, you'll see the shake in some of the dollie moves.

There seems to be no shortage of insanity in the world and sleazy idiots that have to destroy something just because they can. I suppose they're such losers that the only thing they can do is wreak a site for everyone anonymously because they,re cowardly weasels with a LOT of twisted personal issues .I have NO respect for cowardly, destructive, scumbag hackers. What is it with people?! Very annoying. Hopefully, they'll get his site back up relatively soon.

With the recent lawsuits, I'm assuming internships may becoming a thing of the past at lease for any studio positions. You could try for a PA position on the camera crew or ANY PA position you can find, but it could be a little tough with the emphasis on tent poles from the studios so an indie film might give you better odds. I know nothing about east Indian productions with the exception of knowing Bollywood has the largest film production industry in the world, so if it were me, I'd go camp out on their gate entrance until you can get someone to talk to you.

Two cameras is faster and easier on the actors as they often get better performances playing off each other. It also makes editing easier as the sound/picture should always match. It can limit you camera angles and lighting can be more complicated and time consuming. it can become more difficult for the director to focus on on the images he's shooting. A single camera can allow one to focus on creating the perfect mes en scene. It also allows for far more complex camera movement and lighting choices. there is also the question of budget. Having more than one camera crew can cost a lot more, however having a second unit that is split off from the existing camera department to do pick ups and inserts can help efficiency immensely with minimal costs. There is also the option of adding a second camera crew for selected sequences during production. Ultimately, it will depend on the needs, budget and schedule as well as the director of the production. I, PERSONALLY, prefer using a single camera for most shoots and adding a second camera where there is no other choice. On some action sequences or vital shots, there may be several cameras running but those are generally HUGE films with a LOT of money behind them. If you're funding this yourself, just use a single camera and try to avoid overlapping dialog unless it's a two shot or more, as it's easier to cut and sync. I'd really use that advice for anything under a mil budget. B)

REALLY!!!, Your parents named you after a class B narcotic?!! What's your brother's name, Hash Brownie? You're welcome for the help. You might faun over his work, it couldn't hurt. If you want to pay me back, do me a favor, go slap whoever gave your parents the idea to name their precious little baby daughter after THC rich hemp!

Maybe not but using film couldn't hurt!

Marijana...REALLY!!??, Look Mary Jane, this is a professional forum, you MUST use your real name or they WILL close your account. To answer your question. I'd check with his agent: http://www.easterntalent.net/talent/michael-slovis/ Be polite an ask if they can help with your request. See what happens.

Professional Forum. you MUST use your real name. To answer your question, I've worked several times for free. I've also worked for sh!t wages, 50 bucks for a 14 hour day. It's part of the business. The contacts you made can, in some instances, help you down the road. I also believe in the Karma aspect. WE are lucky to be in this business. It's only right we give back to those trying to pull themselves up as we were. People have helped me so there is a pay it forward mentality that can only help you in the long run. That DOESN'T mean you should be played for a fool, though. IF these guys don't show respect and provide the very basics, (one meal even if it's fixed up ramen noodles and an off brand soda), then they don't deserve the gift you've bestowed on them. Screw 'em!. There's enough assh0les in Hollywood, you shouldn't have to help propagate more. My personal opinion

Cool!

Yeah, I read that in the Hollywood Reporter. Apparently the judge fast tracked it, forced, whatever. I would guess NOBODY wants film to "die". I would also bet the powers that be, wanted to make sure the supply of film is maintained for all those movies being shot on this "dead" media!!

Oh, NOW I GET IT!!! Carl's been drinking.

Weight wasn't a problem? EVERY OUNCE on the Apollo spacecraft was a problem!! Also, storage space was a problem. They took exactly what they needed to accomplished their mission. Now think about what you just said. The whole reason for going to the moon was to prove we better, smarter and more importantly, stronger than the Soviets.To make them understand that if they ever contemplated attacking us, we had the technology to lay them to waste. The scientific discoveries were secondary but the perception of sueriority was paramount to that goal. The live images of men actually walking on the moon while the whole world watched was the greatest PR stunt in the history of the world. Who the HELL is gonna want to wait eight and a half days to see a movie even WITH better resolution when it can be broadcasted LIVE!!! Carl, sometimes I gotta wonder if you were dropped a lot as a baby.

With ya on that one, buddy! B) One of the big problems with prints in private hands though is lack of conservation and proper handling. some of these old prints go red or have nearly not image left. the just don't have the storage facilities studios do.

They don't sell them but a lot don't make it back to the distributors. Eventually, some end up in private hands which has proven a God send for prints that would have been lost in the sands of time. Their sold and traded. There was Buster Keaton's first silent film (I THINK, that's what it was, I read it in the Hollywood Reporter online) thought lost that I JUST read about a week or so ago was rediscovered in I believe Brazil. I've read other accounts of similar lost films turning up and original cuts of iconic films found. I, PERSONALLY, feel these prints need to be allowed to be privately owned for just these reasons. Pirating these prints are, of coarse, despicable although, I'm a little on the fence about having a copy print made. I suppose of the owners of the copyright are paid and it's not being used commercially, it really isn't a problem. Here's a site where people buy and trade prints: http://www.scriptologist.com/Magazine/Formatting/formatting.html and here's a projectionists, forum with 35mm projectors are bought and sold and there are LOADS of advice on everything projection from home 35mm screening rooms to multiplexes. Check it out. http://www.scriptologist.com/Magazine/Formatting/formatting.html Preserving and enjoying movie prints is a wonderful sideline hobby for film makers. It can really put you in touch with the history of your profession.

Weight.That and video is instantly transmittable.Oh, I see David and others already covered that.