Director. Toronto. www.KeatonTFEvans.com

Theme by nostrich.

29th March 2014

Photo reblogged from D is for Deligtful with 197 notes

denzita:

goingforpicture:

shittyrigs:

Submitted by pechente

Words can’t express. 

Gotta get that shot.

Most hardcore dolly grip/landscaper ever.

denzita:

goingforpicture:

shittyrigs:

Submitted by pechente

Words can’t express.

Gotta get that shot.

Most hardcore dolly grip/landscaper ever.

12th March 2014

Quote reblogged from Kalen blogs now. with 3 notes

We directors have a very large responsibility. We have it in our hands to lift the film from industry to art… We must want something, we must dare something, and we must not jump over where the fence is lowest.
—  Carl Th. Dreyer (via thatfilmdudekalen)

8th March 2014

Video reblogged from D is for Deligtful with 2,414 notes

(Source: gyllenhaha)

5th March 2014

Video reblogged from D is for Deligtful with 91,992 notes

denzita:

Beautiful.

This is equally as important as that Bill Nye/Jay-Z photo

(Source: yahooentertainment)

25th February 2014

Photo reblogged from It's a 1st AD thing. You wouldn't understand. with 68 notes

goingforpicture:

From the set I’m currently working on. RIP Sarah Jones, and to all crew who have died on the job.

goingforpicture:

From the set I’m currently working on. RIP Sarah Jones, and to all crew who have died on the job.

24th February 2014

Link

Gabriel & Michael - National Screen Institute - Canada (NSI) →

Hey guys! The short film I wrote & directed “Gabriel & Michael” premiered today on the National Screen Institute website. Please share, watch and comment! 

2nd February 2014

Video reblogged from D is for Deligtful with 230,112 notes

note-a-bear:

aminaabramovic:

everyone needs to watch this video before they log off tonight

well, now I know what I’m doing every time a car alarm goes off

Every time.

(Source: merakiandmelanin)

2nd January 2014

Text

Somehow this summarizes my feelings about the year ahead.

"And so now I live alone in my loveless world, looking for light sources and patches of black, hoping for a signal, wondering whether it will be a spark or a flame or a shadow or a tunnel, all the while feeling utterly unsure of which direction I’ll be headed in once that signal arrives."
-Douglas Coupland
http://walrusmagazine.com/articles/2005.07-parallel-universe-douglas-coupland/

Tagged: douglas couplandwritingnyenye2014

25th December 2013

Text

I write stuff!

Hey guys, I have a website thats been around for a little while. Every month I post a new short story that I wrote.

Here is the latest- http://www.drinkinghearts.com/Light&Power

Enjoy!

Tagged: writingshortstorywebsitefilmtoronto

11th December 2013

Video reblogged from Rolling! with 6 notes

quietonset-rollin:

On set - in ‪GTA 5

Source

Some days…

11th December 2013

Link reblogged from Kalen blogs now. with 17 notes

Half a Million Dollars in Leica Movie Lenses Stolen from LA Film Set →

quietonset-rollin:

Filmmakers! Please reblog and blast this post all over the internet. We cannot let these kinds of people get away with this!

CPT Rental Inc. based out of Long Island City, NY is reporting that $500K USD worth of Leica Summilux-C (cine) lenses were stolen off of a shoot being conducted by…

Help?

3rd December 2013

Video reblogged from Kalen blogs now. with 5 notes

thatfilmdudekalen:

Praise You - Fatboy Slim

One of my favorite videos of all time

21st November 2013

Video reblogged from stay for the credits with 52 notes

The film’s bold contrast ratios pay homage to classics like The French Connection (also shot by Owen Roizman), and The Pope of Greenwich Village (shot by John Bailey, ASC), while the Panavision C series lenses (developed decades ago, and modernized by Dan Sasaki) softened resolution and increased flaring (like 1970’s era films), while still providing a clean, grainless negative.  [Cinematographer Robert] Elswit, and his first-time director Tony Gilroy, culled from New York anamorphic classics, while adding new school touches like invisible Steadicam and digital scaling. “Those films had minimal camera movement and exploited image size changes,” says Elswit, “bouncing in from very wide to very close, for example, to highlight their graphic qualities. Rather than using a standard master and coverage, the shots all stand on their own and that’s what we tried to emulate. Tony even looked through the camera, and screened dailies (digitally projected) every day, both of which seem like rarities for most directors these days.”

“The movies that came out of New York City from 1965 to 1985, were, to me, the creative peak in American cinema,” adds Elswit, “and I wanted to find my way back to those movies, led by the likes of Gordon Willis and Owen Roizman, that I saw in film school.” (via)

(Source: enmn)