Posted 24 January 2007 - 06:21 PM
Posted 24 January 2007 - 07:05 PM
The shot inside the car with the girl on the cellphone wasn't very special, nor was the dressing room with the Asian rocker girls. Also, I think the shots from the first film can be shorter as it really starts off the reel at an extremely slow pace, although I liked your use of natural sources within some of those takes.
One shot I was wanting to see more of was the one of the girl at the bow of the ferry as her cloak whipped around in the wind, it looked good but I only saw it for a couple seconds. I liked the rooftop stuff, reminded me of the likes of "Open Your Eyes" or "The Departed". The lowkey shot with the businessman in front of the whiteboard you could probably do without.
With all that constructive criticism out of the way, I think it's a good collection of work for showing around. I'm curious to see if you've done more b&w work.
Posted 24 January 2007 - 07:52 PM
Yeah, that's in there only to show I've done something in a car.
"The lowkey shot with the businessman in front of the whiteboard..."
Yup, I've felt tied to that shot because it gets me to the reverse of Clea Lewis enterring. I've always wondered how much attention I should pay to "spatial logic" (coverage) in a reel, or should I just put all the "hottest shots" in a blender and let 'er rip???
B&W?? What you saw, plus one sequence from my last project shot in Oct. '06.
Thanks for looking.
Posted 25 January 2007 - 01:53 AM
I've always wondered how much attention I should pay to "spatial logic" (coverage) in a reel, or should I just put all the "hottest shots" in a blender and let 'er rip???
I think it needs a good balance of both. We need a quick sense of the stories you're telling with each shot in the reel, but not so much that each segment of the reel comprises a short film in itself. I think it's mostly just those first few shots that need to be cut down a bit...and I'd really like to see more of that boat shot! ha ha