22 Aralık 2014 Pazartesi
I have had the chance to work in Melisa Onel's feature debut "Seaburners" in the beginning of March, 2013. It was my first work after military service as well as my first AD'ing experience after 4 years.
During the shoot, my responsibilities included prepping and distributing the call sheets, assisting Mira Furlan and working closely with the first AD for scheduling and organising the shoot. I was also responsible for keeping track of the shoot and taking notes for the editor.
Seaburners is out! Go see it and support first time filmmakers!
2 Ekim 2014 Perşembe
17 Ağustos 2014 Pazar
- Having recently red Hollywood Drive: What it Takes to Break in, Hang in & Make it in the Entertainment Industry by Eve Light Honthaner, I just wanted to share the author's recipe for success. The book is highly recommended for anyone outside of the film business looking to break in or who wants to switch their careers within the film industry.
3 Ağustos 2014 Pazar
I just came across this great podcast on the ASC website. Michael Seresin, BSC talks with Iain Stasukevich about the making of Dawn of the Planet of the Apes, and his collaboration with the director, producer, production designer, 3D techs and visual effects team as a cinematographer.
At one point during the session, he mentions the 125 reference images that the director shows him to discuss the look of the film. Photographs, paintings, stills or sequences from other films, films he or the director has shot constitutes this visual book, 125 reference images.
There is no point in discussing the importance of visual reference gathering yet very few of us really do it.. It is a great way to discuss a project with others, to incubate an idea and a great source of inspiration when one lose tracks of his project..
To listen the podcast on the American Cinematographer website, click here.
In 2012, I have had the pleasure to edit Eric Kress Lighting Workshop with Benjamin B. The workshop held by Gokinema and moderated by Benjamin B deals with dual close up. Eric Kress meticulously lights the two shots as well as go through with every decision he makes during the process. The footage recorded by Arri Alexa shows how every adjustment, touch, and choices made by the cinematographer affects the shots, the scene and the overall mise-en scene.
It took around 9 months to edit and finish this documentary as I and Benjamin were busy doing other projects. We collaborated online, sending each other our own edits, brainstorming and thinking for a clear and simple approach to document Eric Kress's approach to lighting. Needless to say, I am very proud of this collaboration.
To read more about the documentary as well as the event, please visit the article in American Cinematographer's website.