C Three Hundred, Thousands Of Years, Hundred Years discussed on The No Film School Podcast


And i would work and then for a while. I was a canon c. Three hundred years in years. I was a canon c three hundred and then for the first time in my life i was able to afford cannon cine lenses and i could change lenses and how these just like seeing the world to this beautiful glass instead of basically seen it through plastic right and i think of myself as sort of like intertwined with the historical moment intertwined with the technology available to me in that moment because of many factors in my relationship to how i can handle that technology i took the above. I shot this teeny tiny h one hundred could fit in the in the palm of my hand like a camera so small i couldn't even see the blimp that i was filming in the sky but i want safe. I didn't want anyone to see that. I had a camera so you. There's all kinds of reasons why people choose the cameras that they choose or cameras forced upon them by circumstances but this limits us it is only like it's a part of the way that we fumble and stumble and fail our way into expressing who we are at a moment in history so use any technology that is available to you which allows you to express who you are in that moment and what you need in that moment and i'm telling you if you really go far people are going to look back and say wow that cameras incredible. What did you shoot. That are such a good answer. I love that. It's like saying to an honest like look. Maybe you don't have a brush. Maybe you can only scratch with iraq on the side of a wall but you can still use that to tell thousands of years now your cave and freak out and say. Isn't this beautiful. that's right. So what about the dick johnson camera and the circumstances in history and time and monetarist. I was started. You know so. Much of some footage from dick johnson comes from before i knew i was making dick johnson. Yes so right. So that's the footage of my mother when she had alzheimer's which i shot on the panasonic one hundred and then shot in four three right. I'm shooting in a square rectangle and that matters in the film..

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