Started by Reinhold, April 23, 2010, 06:28:26 AM
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Quote from: Pas Rap on April 23, 2010, 07:29:06 AMObviously what you are doing right now is called (in my upcoming book of psychology at least) validation. I think it's a normal thing to do. People will reply, say anything, and then you're gonna do what you were subconsciently thinking of doing all along.
Quote from: Pas Rap on April 23, 2010, 07:29:06 AMIf no one replies, I advise you this trick : do a coin toss, heads I film it, tails I don't film it. I shouldn't tell you what happens then but you can probably guess.The point is that in your conscience, you have no idea if this project will bring you doom or success. But somewhere deep down in your head, behind all the crap, you know what you WANT to do. You will never know if it will work or not: just that you want or don't want to try it. It's not a shame to not want, too.
Quote from: mattI was also wondering how good this DP is, and whether she or he shooting on the RED is really any better than someone better shooting on, say, a 7D. (Or, the camera I love love love: the Sony EX-1) Yes, the price is a good deal... but maybe through the people who know people who know people + making several less expensive films that lead you to your soulmate DP, who can do things for you with the dinkiest camera that most people couldn't do with the RED, who really can capture an image better than you can imagine it.I'm aware that the RED thing isn't the major expense here, but I think all the things you mentioned are not necessities at this point; you could make a film without any of those things. If there's something in the content of the film that makes it truly impossible to shoot otherwise, then make other things.
Quote from: socketbut i agree don't geek out over equipment, if you got a rock solid story and rock solid acting you're gold. let someone pay you to get a hard on for stedicams later in life.
Quote from: alexandroa dp is TOO IMPORTANT to be decided upon because he has access to certain equipment or not. It doesn't mean that it can ruin your movie if you choose unwisely, but it will be harder and stressfull if you work with someone at the end of the day is not seeing as you are seeing.
Quote from: alexandroget the best dp you can find who should be a guy you both deeply admire and respect and a guy you would be happy to have a lot of beers with.
Quote from: peteI don't think you need to shoot it in Red, whatever it is, unless you can get a better deal.
Quote from: peteI'll do the opposite of Matt here and throw you some bullets: * whatever you learn from this will be invaluable to you as a filmmaker. * if the cost is such a huge factor, then find ways to cut down the cost. there are so many ways. * don't hedge your bets, and treat this as just one of the many things you'll make. don't expect it to do anything for you (though it might!) in terms of career. * if you want to have a wide variety for your reel, you're not gonna make just one film, no matter how many different sets there are. if you wanna do that, then do a bunch of super-short spots instead. * and seriously, no one is telling you to shave off the cost?it seems like you wanna shoot this and you can't learn Matt's lessons by his telling you. he's learning his life lessons and you're learning yours and you won't really know what his or anyone else's words mean until you actually do it. just figure out how to do it in the cheapest most efficient way possible first.