Ethan Lyu

Great reel man.

Saw some shots of streets from Japan. Brings back old memories.

Just curious what's the name of the film?

I was always attracted by the bright lights coming out of those convenient stores.

Hello everybody,

Is there anyone looking for a crew in Vancouver area?

I finished film school and came back from LA, looking to get my foot in the door.

Knocked on doors for post-houses but it's slow everywhere and I'm aware of the reality. <_<

But I want to keep trying. Not looking for big budget fancy productions.

I can assist in camera/art department, script supervising etc.

I speak several languages, diligent, worked as a PA few times, shot my own shorts etc.

thanks a million,

Ethan

I don't have much experience, but from what I've heard:

 

10-15 minutes is the ideal short length (or less), a lot of folks recommend ten or under. Seems like 99% of 'em accept miniDV. Whether any of those submissions actually MAKE IT THROUGH and get into the festival is another story. I've done exhaustive research looking for fests that might take my overly long (23 min) short made on miniDV with no name actors. Sometimes, on a fest's website, you can find screenshots from the entrants for each year. If I look at those and see that everything looks like it was shot on film or at least HD with a "real" budget, SKIPPO for me (documentaries are apparently the exception--without fail, almost every screenshot that does look like something within my budgetary range is a doc). Likewise, if I see party pics with celebs everywhere, SKIPPO for me. It also doesn't hurt to see (if you can) what general length are the movies that made it in each year (i.e. if there are short films, are they all around seven minutes long, or are there some that approach your length?). In my opinion, they ALL want to be Sundance, that is, have their programming be high end projects with major stars. Find the fests that are exceptions, and your video-shot 35 min short might have a chance.

 

P.S. One I'd advise (it's a known scam; google it) is a festival based in NEW YORK with the words INDEPENDENT and FILM in it's FESTIVAL name.

Hey John

thanks for all the info.

Do you know if Sundance accepts miniDV for their shorts?

It did not say anything about the format on their website.

If you don't mind sharing, which festivals did you submit?

thanks so much,

Hello, first let me say I am always thankful for the advices I get from this community.

Being a newbie in industry, I know there is no 'ONE' way to get a feature made or raising

money or becoming a director. My plan (for now) is to enter into local, small festival w/

micro-budget films and try to enter major festivals if I can get a budget since I believe, it requires budget for publicity to make it worthwhile.

So some question about festivals...

1.

I used to hear winning a short film festival is unless it?s something very major like the Academy, but still getting noticed in a major festival with a short is one of the best way to directing, isn?t it?

Although video and HD has improved nowadays, do you think one should consider shooting

35mm or at least 16mm if it's for entering into a major festival?

I don't even know mini-DV shot on DVX100 is accepted. (When I saw "Lonesome Jim" think

the DVD commentary said the whole thing was shot on DVX100)

2.

Also I see these major directors made 35 minutes shorts when they were students, which I think is necessary length to tell a story. But I think most festivals limits you for 15min. at the

most, don't they? Besides Youtube, how can you show your 30 min. plus short to a mass

audience that counts?

3.

Which are the 'Big 15' film fest., ie, the festivals that won't be a waste to enter?

(I went to see a small film fest in LA, and attendance was minimal plus my friend's film

was in the morning and there were 15 people in the theater. I suppose it didn't hurt to

build her resume but it didn't get the movie much exposure)

thank you very much,

Hello,

can anyone tell me how this sequence from Michelangelo Antonioni's 'Eros' was shot?

Thank you very much for your insight and advice.

I should have been more clear about my wording.

I meant mainly TV commercials (and music videos)

and never meant movies-made-for TV. Sorry for confusion.

I agree and understand that one should 'take the job you can get'

unless you are a at a level to choose.

thanks again,

Hello all,

Although it might be a premature thought, do you think directing TV commercials will

influence your sense of film directing, in terms of visuals?

ie, I look at some film directed by ex-commercial directors and I can tell they used to

do commercials just by looking at it. Usually composition is very symmetric or sometimes

the movie feels like a 90 min. long Canon Digital camera TV commercial.

Not to pick on anyone but like the director who did "The Cell", Mr. Tarsem Singh who

I think has a stunning visual style, looks like he can only make those type of films.

Perhaps it is his choice.

My hunch is, music video directing, depending on content, resembles more w/

film directing.

What I'm asking is, although commercial directing might be a more stable career,

I won't do it for long term if it will influence my sense story telling in a negative way

since I do not wish to direct a movie in TV commercial visuals.

Any thoughts will be appreciated,

thank you

Stop making it sound so easy Phil.

 

Here's a good resource though http://www.finalcolor.com/FAQ.htm#newcolorist

Thanks a lot Rob

As to actually getting that sort of job; the standard approach is through working at a lower level engineering job in a postproduction house. Certainly in London and I believe worldwide these posts are paid absolute peanuts and are mainly used as a filter to see who's got the right degree of swagger to go further; you will probably work in this sort of job, barely making a living if at all, for years, moving between several places, before a: you give up in absolute disgust at the puddle-deep mentality of high end post, or b: someone takes a liking to you. Then you might become an assistant to a colourist, and eventually work up towards doing dailies transfers for people the small hours of the morning. After many, many poorly-paid years of this, the senior colorist will have a job he can't do because he's at his grandmothers' funeral, and you might get to do it.

 

P

Thanks for the great info Phil,

so you have worked as a professional Colorist in UK?

What kind of job is "lower level engineering job" in post-production house? maintaining servers?

How about in US/Canada is it the same?

Hello,

How does a person become a colorist for a post-production house?

Is there a training school? Or you go to art school and learn After-effect and those

other software on your own?

Any info would be appreciated,

Thank you very much.

Hi all,

How can I become a TV commercial director?

I noticed in US there is no apprentice system and you start out as a diretor right out.

So how does one become a director from the start?

I notice most of them come from photography background, DPs.

I went to community film school in LA but

I don't have that and it will take long time for me though I want

to improve my photography skills. But I know how to put down

ideas on storyboards.

Just start shooting my own commercial as a real? instead of short film?

Also is it still advantagous to be in NY, LA? Still lots of commercial jobs are there, it seems.

anyone got advice, greatly appreciated.

I need a DP to shoot a short film in Vancouver.

A fantasy/romantic/comedy.

Anyone with their own DVX 100, XL1,2 level camera and who can rent

lighting package cheaply are desired.

There is no pay for this one but I am looking for someone to develop further relationship for

feature film which I want to shoot.

Please send me a link to your reel or leave me your contact number.

Thank you very much,

Ethan

Hello everyone,

I am 33 years old but have history of bad back, having herniated disk 2 years ago.

I am over that one but long plane ride and strenous activities still makes my back tense and uncomfortable.

Quit my job to go to film school for 2 years but now I'm about to graduate, I have doubts that my body will be able to take 12 hrs/day shooting etc.

I still don't want to give up my dream of filmmaking (writer/director).

What is a position that has the least physical strain in production environment?

Obviously I can't lift heavy things so I'm thinking of Script Supervising,

they let males do it , don't they?

I suppose my other options are office jobs such as producing etc.

thanks in advance,

Hi Matt

Looks like you are having fun, envious.

I saw on your forum you are using the following equipment.

Just wondering how much did it cost? assuming you rented them?

Which part of the country are you guys shooting? NY?

I would consider you to DP if you lived in Cali

thanks a lot,

Ethan

-------------------------------------

Camera, Grip, Electric

- DVX100a

- Redrock Micro M2 35mm lens adapter

- Nikon Primes (15/28/55)

- Nikon Zoom (80-200).

- 2x 650w Britek

- 1x 300w Britek

- 1200w HMI and a 575 HMI Fresnel

- 3x Fluorescents (3200k)

- 3x Fluorescents (4100k)

- 100w and 60w Chinaballs

- 100' and 50' 10 Gauge

- 100' and 50' 12 Gauge

- Misc. other stingers

Hello Francois

thank you for sharing such valuable info/experience.

I am a newbie here, didn't know those kind of camera even existed.

How does one get such sponsorship from SiliconImaging?

Can anyone apply with a script?

thanks a lot,

Hey anyone,

I am thinking of getting DVX100 but not familiar w/ the product yet.

What is the difference between Panasonic dvx100A and dvx100B?

Just diff. model #? B came out later?

thanks a lot,

Hey, nice work.

Which one is video and which one was film?

My guess is the black and white was shot on film and color footage was video?

1. Is a 4 year University even worth it? I've heard from some people in "the business" that most people don't care whether you've gone to school or not, they just care about the knowledge that you carry.

IF DP is what you are goin to become, general 4 year with a general major is not so helpful.

As a student director when I'm looking for a DP, ALL I care is he knows enough about camera and lighting

and able to communicate well with me and understand what I want to show on screen.

2. How do I get into a tough school like NYU or USC? One thing that has constantly boggled my mind is that how do people aspiring to work with cinematography get into great schools like these. I don't think that people in film are dumb, but certainly they can't all be extremely smart to get into schools like these.

Look at Chris Doyle, DP for Wong Kar Wai, he never went to film school and learned it as it goes.

Going to big school gets you to meet "big" directors who might make it in future - and use you as DP. But unless you got lots of $$$, I think big schools won't give you talent that you don't have.

3. How much "previous knowledge" should I have (or did you have) when going to school for cinematography? I have very little knowledge itself of cameras used in the industry, or other things of that nature because there aren't many places in my area to find these things out. One thing that I do think will help me is my tech theater experience working with lighting, sound, prop building, etc.

Just like a baseball/basketball player, everyone got their strong/weak point. You maximize on those.

5. Is Hofstra University a good choice? I've been looking at Hofstra for a while now, but i'm realizing while browsing around the forum that I don't see them mentioned much. I only have around a 3.0 in high school, so my options are somewhat limited.

As long as you know your stuff, personally as a director, I really don't care which school. You portfolio does.

People like NYC, LA cause those are the 2 cities that got most business going on. So if you go to school located there, you are strategically located to meet more people etc.

Any experienced guys, opinion would be appreciated.

If you want to become a director, do you think working as a PA is helpful? I suppose few times could be, to see the ins and outs of production and how team work works.

But we're talking about PA here, not ADs.

In Canada, where I can work legally, even becoming PA takes long.

1. PA Helper for 30 days, take training courses

2. Obtain Log Book (keeps track of work record, pay) from the Guild,

put in 150 days as PA and become a "real PA" (they call it Associate Membership but I assume it is PA since it doesn't say AD etc)

I called a Hollywood studio production shooting in Vancouver, asking for PA openings, they asked if I had a Log Book. So if I don't have one I will be PA Helper, below PA. And as I wrote above, after 180 days I am still PA!! I think 6 months of shooting experience, I can learn script supervising which is more useful.

I saw the Director's Guild requirement for US (I go to film school in LA)

and they don't require any days for PA. Maybe some safety training.

Yes, I know the fastest way to Director is to make your own film, which I am working on. But I still wanted to know.

Any experienced guys, opinion would be appreciated.

If you want to become a director, do you think working as a PA is helpful? I suppose few times could be, to see the ins and outs of production and how team work works.

But we're talking about PA here, not ADs.

In Canada, where I can work legally, even becoming PA takes long.

1. PA Helper for 30 days, take training courses

2. Obtain Log Book (keeps track of work record, pay) from the Guild,

put in 150 days as PA and become a "real PA" (they call it Associate Membership but I assume it is PA since it doesn't say AD etc)

I called a Hollywood studio production shooting in Vancouver, asking for PA openings, they asked if I had a Log Book. So if I don't have one I will be PA Helper, below PA. And as I wrote above, after 180 days I am still PA!! I think 6 months of shooting experience, I can learn script supervising which is more useful.

I saw the Director's Guild requirement for US (I go to film school in LA)

and they don't require any days for PA. Maybe some safety training.

Yes, I know the fastest way to Director is to make your own film, which I am working on. But I still wanted to know.

Any experienced guys, opinion would be appreciated.

If you want to become a director, do you think working as a PA is helpful? I suppose few times could be, to see the ins and outs of production and how team work works.

But we're talking about PA here, not ADs.

In Canada, where I can work legally, even becoming PA takes long.

1. PA Helper for 30 days, take training courses

2. Obtain Log Book (keeps track of work record, pay) from the Guild,

put in 150 days as PA and become a "real PA" (they call it Associate Membership but I assume it is PA since it doesn't say AD etc)

I called a Hollywood studio production shooting in Vancouver, asking for PA openings, they asked if I had a Log Book. So if I don't have one I will be PA Helper, below PA. And as I wrote above, after 180 days I am still PA!! I think 6 months of shooting experience, I can learn script supervising which is more useful.

I saw the Director's Guild requirement for US (I go to film school in LA)

and they don't require any days for PA. Maybe some safety training.

Yes, I know the fastest way to Director is to make your own film, which I am working on. But I still wanted to know.