Thomas Koch's Lounge Discussions

Hi Thomas good luck with your web series.

Thanks Lina!

Casting to get big-budget funding and make bug-budget box-office: Kiera Knightley or Dakota Fanning (even though she's only 18, she can do it and act rings around any competition!), Also, Gabourey Sidibe, who's actually 29 for about 6 more months, so better act fast, but is in the same league with Dakota. And, that's about it. The rest are no-talent hacks that get by in this business based on their looks or the fact that they used to work for Disney.

Hey Mike, Pretty sketchy request. 1920s or 2020s or 1620s? What genre? Straight, gay, transgender, allegorical, passion play, opera, splatter flick,animation, voice acting, etc. etc. Also are you asking for a specific name or a type? Hekkuba-ish, Livia-ish, Ophelia-ish, Drucilla-ish, Cleopatroa-ish, Elizabethan Queenly, Amazon-ish, Bodecia-ish, Rebecca-ish, Lady MacBeth-ish, Mata hari-ish, Daisy Miller-ish, Lady Gaga-ish--- Flapper-ish, whore-ish, out-spoken... etc. A-grade, B-grade, C-grade. Black, brown, white, yellow, red or combinations? Amputee, one-eyed, scared, tattooed, dancer, prancer, man-lancer? Jesus, maybe I should have become a casting agent...LOL

I thought of Dakota Fanning immediatley. She's so versatile. Or Emilie de Ravin or Allyson Hannigan.

mike you ask a question and you get the energizer bunny :+}

Emma Watson for sure. Lot of talent, lots of star power.

Mark, there is no wrong way to accomplish the same goal.

However, it's extremely likely the wrong way, will stop you from reaching the goal. Let's put square tires are cars. It's totally outside of the mainstream automobile system.

Well, if you wanted to put square tires on a car, you should have taken a different route! You guys make everything so difficult. It's not that hard, you can take a Bentley on a trip, or a Chevy, either way, you'll end up in the same destination!

if you guys spent as much energy on writing your damn screenplays instead of frittering away your time in the service of impotent ejaculation, you might actually discover something that is of use to you as a screenwriter.

I've done many years of creative work on TV production and set design,often using objects and props from trash,transforming and building things into very successful award winning shows,on the other hand I've seen huge budgets spent on shows that were flops....and the same rule goes for films,just like music,painting or any form of art.Success is in actually getting your creation out there to be shared,not the commercial success or box office returns.A film is like a shop window,some people are attracted immediately,others walk past....but in the end it's 'Word of Mouth' that gets popularity through others sharing their experience.So I really don't think the viewer cares on how much was spent,or what sacrifices were made to finally get a film on screen,either they enjoyed it or they didn't.And lastly,anything and everything can be made,produced and distributed for free,but in an industry that has trained and skilled workers,dedicated staff,talented casts and enthusiastic crews,being PAID is an essential part of the exchange,so a healthy budget does get you people to turn up for the shoot,and stay till the completion.How many films and TV projects are there out there that are STILL in editing or post production............lorry loads!

Nice to meet you, Thomas! :-)

Loved Part 1 - it's a great set-up for a series and you have some great locations and costumes. I've started my own webseries with similar themes - mine is about a young witch. You can see the first episode at www.jennyringo.com and if you get a minute to sign up to the mailing list that would be awesome. I'm trying to build up an audience before the 2nd episode is finished. If there's anything I can do to help you promote Magehaven let me know. I think our prospective audiences might have similar tastes!

Thanks Eric and Joe. The reason for my question is because I am shooting a feature this summer, and I didn't want to do what everyone else is doing, so I decided to shoot with a Canon Vixia HF s100, with a LETUS mini 35mm adapter. I know, I'm going to get a lot of flack for saying this! LOL!

Haha, listen to Joe! He killed my response... For some reason I read the question as "If you could only have one lens what would it be," so that's how I answered it. Not sure why, but I did... Anyway, I'd take him up on his suggestions, because they are very good, and he probably knows way more than I do. The only thing I would add is, if you're really considering this path and the LETUS, make sure you understand how the sensor in that camera effects the focal length of the lenses you choose since you won't be able to zoom in-camera once the LETUS is attached. I'm sure you know this though. :)

Also with the LETUS keep in mind you're losing a stop or two on the lens so make sure to get fast glass. I would suggest trying to rent a good cinema zoom as well to have the zoom flexibility if needed, and I say get a cinema zoom so you don't have to worry about aperture flicker or focus drift while zooming.

Thanks guys! I read on the LETUS site that is only loses a half stop. I have nothing against DSLR users, I just want to try something different than everyone else. I really appreciate all of youse guys knowledge! LOL!

I love the 18mm. RPP or Ziess ultra speed. I just love those big wide shots with dolly or crane moves. For EF lenses on my epic or scarlet, I love the 35mm Rokinon. I'm hoping the 24mm is as good. There needs to be a set of lenses that are good, but inexpensive. I find the L series primes to be pretty good, but they are not cine lenses. i really want Rokinon/Samyang to come out with a whole line of red band quality primes.

I operate on a very, very small level (just graduated recently), but so far I like operating the camera. Without sounding egotistical, I trust my ability to get the shots I want to see, and I feel like the less I have to explain myself on a single camera shoot, the more efficient things are. Like E. said though, if you're talking a multi-camera set up, I can only imagine how tricky things become. In a small, well controlled environment , I don't see any problem with the cinematographer running camera, assuming they're capable and willing. I'd personally love to do both on a larger scale one day.

A good DP can communicate what he wants to see in every shot very simply and a good operator can see the lighting set up and pick up on the great images provided making it a seamless image. I have done DP/Operator work on a lot of small indie stuff, but I would rather work under a great DP and just operate the camera and collaborate on shots with the DP and Director. Just my thoughts.

I have to admit I would love to work with a talented operator, I think it would give (depending on the project obviously) a great angle having a fresh pair of eyes slightly more disconnected to the project than the director.

I do both. There are times when you just have to operate yourself. A lot of indie low budget stuff, would not hire a competent op. On bigger stuff, you get better talent, and can focus on the over atheistic without focusing on the move itself. Having an op does allow for seeing the bigger picture better.

I have done photography for nearly 30 yrs now and enjoy operating the camera. However, I DP a lot of multi-camera shoots and there I have to rely on good photographers to operate those cameras. It is more important to me as DP that the operator is a good photographer more so than someone who knows the specific camera being used,