Artyom Zakharenko

im thinking buying an alexa mini, but only because i have 2 big projects coming up that will return the investment.. i dont have a camera yet, but i really wonder if owning one - actually will bring you more work

Comments welcome www.artyomzakharenko.com

Hi everyone Im trying to export a project i graded in Davinci to single Quicktime Prores422 files. When i open the exported files in Quicktime i notice a huge gamma shift and a greenish shade, looks completely different from what i did in Davinci. I know for sure it has nothing to do with monitor calibration, because i only have 1 monitor. I've checked out some forums but no clear answers there. Is anyone familiar to this problem and if so what to do? Shot on F55 in XAVC. A friend of mine said it has to do with the source footage which has a higher bitrate, but i couldnt find confirmation on that info on the internet. See screenshot below. Upper image is what i intended to do, the one below shows the actual export.

Thanks all, i think i'll go for a combination of digital zoom, optical zoom an track out

Hi all, Currently im working on a project in which i'll have to zoom out from a supersmall diamond stone to a wide shot in 1 take. I guess it's something typical what they do for zooming out of still pictures, except this time the object is very very small. The problem is i have no idea how to handle this… is this something i should do using high resolution, or switch lenses during the take and glue the two seperate shots together so that it looks as if its 1 take? Thanks!

Hello all Im looking for a drone pilot with its own drone in Iceland. Drone must carry the weight of a Sony A7s + Canon 16-35 lens. Project to be shot by the end of this month/early september. Contact via artyomzakharenko@gmail.com Thanks Artyom

made a new reel let me know what u think guys https://vimeo.com/129499906

Darmon :)

except the battery is covering the monitor so u kinda have to gamble ur shot

actually yes, pocketcam wayyyyyyyyyyyyyyy better than any dslr out there, i just finished a low budget documentary and again i regret we shot it on dslr

Depends on the gig, on commercials we always rent cameras, because every project requires a different camera.. If ur mostly shooting short films then yes it can be handy to have your own set. Here in Europe people try to hire a cameraman because of his/her skills, not because he or she owns a camera.

Freya, on the other hand going for broadcast/eng cameras like ex1 is maybe not the best choice If he conciders to become a professional DP you need to learn to work with lenses, which is a bit difficult (i think) to work with a small sensor and standart zoomlens though my first cam was a canon xl2

''...I can't just pick up my kit and go do some spontaneous shooting'' in that case i'd go for a cheap 2nd hand dslr just to practice, spending 10K on a camera for spontaneously shoots is also a waste of money (in my opinion), because lets face it, any camera will end up in the garbage sooner or later, glass on the other side will keep its value for another 100 years, if not forever Ive invested in a proper set CP2's, i always rent them out to the prod. house when i have a gig

invest in glass and rent camera per project

funny you mentioned that Freya, made me think of this part from 4.50 https://www.youtube.com/watch?v=wq1DQdIEYAg

@James Please read my comment carefully and stop making things up, because i never said the director wanted a 'real' looking image and i never said i didnt support the director's vision. I understood the director's vision pretty well and i supported it. BUT, if a director suddenly during the shoot changes his mind and says light is not important, the looks of the film dont really matter and there's no time to make a proper image, then i feel like i walked into a trap. Why am i needed then if i dont even get the chance to deliver the director what we agreed on during preproduction? During preproduction we both agreed on a particular look and workflow, everything we discussed changed all of a sudden just because he got annoyed of waiting for light set up, time was the only thing that bothered him. Now, since i care about my work and dont want my name attached to a film that looks like its shot in 1 day (if you know what i mean), i walked away. Unlike you, i prefer quality over quantity, because according to what ur saying, the director in your eyes is an all knowing wise dictating God who everyone should obey. Maybe thats how things work in the States, but in Europe we try to understand each other, and to make sure everyone is on the same page and work together towards 1 film. If you have a big ego in the film industry, perhaps ur in the wrong job.

i did this one in LA http://lightextreme.com/CinematicExpression.html

I worked with a director like that last year. He insisted the whole film to be shot with 2 cameras no matter what, it had to be done with 2 running cameras. So in overshoulder situations, the light would work only for 1 camera, but that didnt matter because as he stated: 'light is not important and a waste of time'. Then i imagined what it would look like in the edit and thought, time to pack my stuff and get out, so i packed my stuff and got out. Passed the job to another DP. Looking back.. best choice of my life. Now, 14 months later, they ask the other DP how come it looks so weird.

Comments please! https://vimeo.com/85673217 Merci beaucoup!

does anyone know what filter is used in this scene (3.51min)? http://www.cinematography.com/index.php?showtopic=61462

Hi all I've been wondering for a while what other DP's do in a situation like this Imagine a scene where you expose a person, in a medium, on a 25mm lens, because you want your audience to feel present in the scene The director says he needs a close up shot as well from the same perspective Do you stay where you are and use a longer lens, or stay on the same lens and take a few steps towards the actor? I know it depends on many things this and that, but this is just an example, id like to know how other people 'deal' with this?

''That can be frustrating in a space where the only light, for example, is coming from some windows to one side'' Thats exactly what i was talking about..

Thanks guys!

Hello everyone Im doing a short film next week and cant decide what to put preference to, lighting for the story, or for the woman's face. There are lots of scenes where the woman has to look elegant in a dark natural environment. What are your thoughts on this subject, have you ever had the same 'problem' and how did you deal with it? Thanks

hahah.. is that for the shoot we did in may?