Nathan Beaman
Well-known member
Thanks!
actually i was my own first ac this time around! I pulled my own focus during all dollies, pans and tilts!
"The Regret" HVX/M2/Zeiss Lenses
- Thread starter Nathan Beaman
- Start date
Thanks!
actually i was my own first ac this time around! I pulled my own focus during all dollies, pans and tilts!
michael_fisher
Active member
Nathan did have someone running to the car for lenses...but they usually came back with the wrong ones. 
Michael
Michael
deckardScott1980
Well-known member
hey nathan great video. how are the ziess lenses. Very clear footage. How did you get a hold of them. Did you buy them and if yes, where from?
mjjason
Well-known member
Image wise this film looks fantastic as all your other collaborations with Michael have been.
However, after seeing 3 of Michael's films I must say that they are not for me. They are far to slow and abstract for my liking. Excellent image and composition but the pacing and story/concept never work for me. Technically they look great but I just can't get into it.
However, after seeing 3 of Michael's films I must say that they are not for me. They are far to slow and abstract for my liking. Excellent image and composition but the pacing and story/concept never work for me. Technically they look great but I just can't get into it.
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michael_fisher
Active member
Party pooper. What films are you into, mjjason, so I can get a sense of where your tastes lie? Top five for me: Barry Lyndon, Days of Heaven, The Conformist, Winter Light, Au Hasard Balthazar.
Best,
Michael
Best,
Michael
mjjason
Well-known member
Oddly enough I do like Barry Lyndon. Kubrick is my favorite director with 2001, Clockwork Orange, and Paths of Glory the best of his work. Honestly he has never made a bad film.
I did like your war film you did but the pacing there was also slower. Your work and vision are there and you definitely have skill far beyond many people. I just think you need to tighten up on your pacing a bit. Not saying you have to go the Michael Bay/mainstream route, I feel that you just have to tweak your approach a bit more.
I did like your war film you did but the pacing there was also slower. Your work and vision are there and you definitely have skill far beyond many people. I just think you need to tighten up on your pacing a bit. Not saying you have to go the Michael Bay/mainstream route, I feel that you just have to tweak your approach a bit more.
mjjason
Well-known member
Just to expand further, for me there is a line where a film can be slowly paced yet pull off what the film maker wants to acheive. Terrence Malik and Kubrik do it beautifully and I can see what you are trying to do. For me though right now your approach is maybe slower than it needs to be.
michael_fisher
Active member
mjjason,
Thank you for your thoughts. All of my films are different eras, different subject matters, and yet as you said there is a familiarity in the look and feel. It's unintentional, subconscious, but I'm proud of it. I don't want to lie to myself and force a film in a direction other than what my instincts are telling me. Those are formed from the sum of my experiences. If it's a little weird and different, but as the artist I feel I have accomplished what I set out to do, then I think it's for the best and certainly appreciate it in others' work. That being said, I don't know if my entire approach needs tweaking, but I keep making films to get better and know that my editing skills, work with actors, and framing have a great deal of room to grow, especially in light of some of the titles of films we were just discussing.
Michael
Thank you for your thoughts. All of my films are different eras, different subject matters, and yet as you said there is a familiarity in the look and feel. It's unintentional, subconscious, but I'm proud of it. I don't want to lie to myself and force a film in a direction other than what my instincts are telling me. Those are formed from the sum of my experiences. If it's a little weird and different, but as the artist I feel I have accomplished what I set out to do, then I think it's for the best and certainly appreciate it in others' work. That being said, I don't know if my entire approach needs tweaking, but I keep making films to get better and know that my editing skills, work with actors, and framing have a great deal of room to grow, especially in light of some of the titles of films we were just discussing.
Michael
mjjason
Well-known member
I don't think you need to tweak your entire approach. Just some minor aspects. In any case, like all artists we improve with every project. Sticking to your vision is what everyone should do as that is were our enthusiasm and love for film-making comes from.
You have the skill and the vision and with time you will hone it down to perfection. I don't think you are there yet but you are much further along than I am I can tell you that.
You have the skill and the vision and with time you will hone it down to perfection. I don't think you are there yet but you are much further along than I am I can tell you that.
michael_fisher
Active member
Hmm. I re-read my last post. Hope I didn't come off too smart ass. Just finished a week of hard work to make that film and maybe I'm a little touchy. I do appreciate the feedback.
Best,
Michael
Best,
Michael
Wow, that was really nice. The color, lighting, and contrast are stunning. I actually thought that the dolly work added to the anticipation. I didn't find it overdone at all.
You should be very happy with that piece.
You guys are making it really hard to go back to my corporate stuff after watching some of these shorts.
-Brad
You should be very happy with that piece.
You guys are making it really hard to go back to my corporate stuff after watching some of these shorts.
-Brad
S
SeanEmer
Guest
I didn't think the film was too slowly paced at all. If anything, the lack of rapid visual stimulization added to the viewer's capability to think about the content. That's what I like about slow films; the purpose is to make you think, not to make you watch.
If you really want a 'slow' film, check out some of Bresson's stuff. Now there's a brilliant filmmaker whose work moves at an almost imperceptible speed.
If you really want a 'slow' film, check out some of Bresson's stuff. Now there's a brilliant filmmaker whose work moves at an almost imperceptible speed.
Evening Films
Member
Nathan and Michael -
Beautiful short - I've been lurking dvxuser for months now, and your clip prompted me to register and post...
1] How long was your shoot?
2] How much crew did you have besides the two of you and the guy running to the car for lenses?
3] Did you shoot at 720 or 1080?
Best,
--Hans
Beautiful short - I've been lurking dvxuser for months now, and your clip prompted me to register and post...
1] How long was your shoot?
2] How much crew did you have besides the two of you and the guy running to the car for lenses?
3] Did you shoot at 720 or 1080?
Best,
--Hans
michael_fisher
Active member
Hans,
Glad to hear your thoughts. Thanks. We shot for two days. Started with the factory on day 1, then early afternoon had to drive 1 hour and 45 mins. (I know, insane but had to be done) to the church location where we shot the opening warm ext. shots then did the near kiss against stained glass inside and tried to do a different version of the girl sitting in the pew. Put almost two hours into that before realizing it wasn't working. We left the lights set up in the church. I came up with the current shot that night, we came back in the am and shot it. Then we pre-lit the foyer of the church, shot the ext. stuff with her sweeping and him approaching, then shot in the foyer essentially night for day at that point, having to light the panes of stained glass.
Crew: Nate, myself, 3 grip/electrics, who would also help Nate with camera a little.
We shot 720 24pn to allow for some touches of 30p slow mo.
Sean,
Thanks. Hope your short is going well. Completely agree about Bresson. "Au Hasard Balthazar" and "Pickpocket" build slowly to two of the most powerful endings I've ever seen. "Diary of A Country Priest" is one to check out for gorgeous b&w cinemtaography. Dying to see Bresson's "Trial of Joan of Arc," but I don't think it's available quite yet in the states. Gotta say avoid his "Lancelot du Lac," one of his few color films that pretty much looks like unintentioanl Monty Python. On a related note, can't wait for "Days of Heaven" Criterion Collection this month.
Michael
Glad to hear your thoughts. Thanks. We shot for two days. Started with the factory on day 1, then early afternoon had to drive 1 hour and 45 mins. (I know, insane but had to be done) to the church location where we shot the opening warm ext. shots then did the near kiss against stained glass inside and tried to do a different version of the girl sitting in the pew. Put almost two hours into that before realizing it wasn't working. We left the lights set up in the church. I came up with the current shot that night, we came back in the am and shot it. Then we pre-lit the foyer of the church, shot the ext. stuff with her sweeping and him approaching, then shot in the foyer essentially night for day at that point, having to light the panes of stained glass.
Crew: Nate, myself, 3 grip/electrics, who would also help Nate with camera a little.
We shot 720 24pn to allow for some touches of 30p slow mo.
Sean,
Thanks. Hope your short is going well. Completely agree about Bresson. "Au Hasard Balthazar" and "Pickpocket" build slowly to two of the most powerful endings I've ever seen. "Diary of A Country Priest" is one to check out for gorgeous b&w cinemtaography. Dying to see Bresson's "Trial of Joan of Arc," but I don't think it's available quite yet in the states. Gotta say avoid his "Lancelot du Lac," one of his few color films that pretty much looks like unintentioanl Monty Python. On a related note, can't wait for "Days of Heaven" Criterion Collection this month.
Michael
dantewaters
Well-known member
Nathan the footage looks great I haven't really seen your work in color it really has a differnent feel not that I mind (not at all). I must say your slient movies are great. Seems to be something that's been lacking among our community.
I find no complaints I would actually promote your work to help push the purchase of an HVX well done!!
I find no complaints I would actually promote your work to help push the purchase of an HVX well done!!
dantewaters
Well-known member
The article you're writing will be available on the web?
Also What are you using to monitor your HD footage
To keep it as sharp as possible ?
bryan ramirez
New member
Good job.
michael_fisher
Active member
dantewaters,
Nate was just given (!) a good sized HD monitor for work on another job. It became an option just a little too late and we didn't have the cables we needed to use it so had to go with a small Sony SD field monitor, which I hoarded. Nate was working off the camera LCD the whole time, but we'd have a sexy meeting under the duvetyne once in awhile to check the playback together. He mentioned it to me but I can't remember where his artcles will be running. Hopefully, he'll chime in soon but check out his blog (finalcutuser.com) and it will probably come up there at some point.
Michael
Nate was just given (!) a good sized HD monitor for work on another job. It became an option just a little too late and we didn't have the cables we needed to use it so had to go with a small Sony SD field monitor, which I hoarded. Nate was working off the camera LCD the whole time, but we'd have a sexy meeting under the duvetyne once in awhile to check the playback together. He mentioned it to me but I can't remember where his artcles will be running. Hopefully, he'll chime in soon but check out his blog (finalcutuser.com) and it will probably come up there at some point.
Michael
Evening Films
Member
Going off-topic from tech aspects, what about wardrobe/make-up? Craft/general PA busy work? Did you really only have five people total plus two talent?
Hope I'm not bugging you with questions -- I'm very interested in details about efficient, small crew shoots with results as attractive as yours. Your attention to the details in the frame is really refreshing in the glut of micro-budget/no-budget production going around these days.
--Hans
michael_fisher
Active member
Hans,
Only had the two costumes. I did test photos of them at the actual locations when possible. Once they were decided on, actors kept them and brought them to set and quickly changed. Discussed make-up ahead of time with actors as well and they did their own. I had a make-up kit on set and did touch ups of powder on the actress and plains dust and soot make-up on the actor when necessary.
My dad does catering. He's the Dean at New Englnad Culinary Institute, a cooking school in Vermont, so has some skills. Put together some crafty we took in the am and showed up in the afternoon with sandwich materials. Um, maybe I'm getting into too much detail.
Not much PA busy work to go around. A couple of the grips courageously placed themselves in the way of oncoming traffic to get the shot looking back down the tracks toward the factory.
Michael
Only had the two costumes. I did test photos of them at the actual locations when possible. Once they were decided on, actors kept them and brought them to set and quickly changed. Discussed make-up ahead of time with actors as well and they did their own. I had a make-up kit on set and did touch ups of powder on the actress and plains dust and soot make-up on the actor when necessary.
My dad does catering. He's the Dean at New Englnad Culinary Institute, a cooking school in Vermont, so has some skills. Put together some crafty we took in the am and showed up in the afternoon with sandwich materials. Um, maybe I'm getting into too much detail.
Not much PA busy work to go around. A couple of the grips courageously placed themselves in the way of oncoming traffic to get the shot looking back down the tracks toward the factory.
Michael