Lee Tamer

I can understand that things can go wrong during filming, you have to accept that. But things like not even having a location set up the day of filming is just sloppy and unprofessional

The funny thing is, she ran B camera a lot of the days as well, which aggravated me even more. She should be focusing on the actors and not running camera. If she's running a camera, whats the point of having a DP?

Ive done a lot of music videos that werent very organized, but i didnt mind because the directors knew what they wanted.

When a director cant tell me what they want, I have to guess, which is even harder when I dont know the scene.

I guess now is the time to learn and not further down the line when I might be wasting a studio's money right?

This past spring/summer I shot my first indie feature, lets just say I didnt have the best time.

The director was consistently unprepared. We never scouted locations, she never met with me to discuss scenes when i constantly asked her to. I never knew what scenes we were shooting until the night before. I also only ever saw the script twice due to constant scene rewrites. There were many times where I wanted to walk off the project.

Was there anything I could have done to make this a better experience considering I had to do everything on the fly?

What should the director have done?

You have that reversed. The more open the aperature, the less the DoF. Backing up and going to a wider lens will also give you more DoF but then you loose your shot. And with Aperature closed down you start loosing the visual details you may or may not want in your scene, or introducing noise if you're just upping the ASA.

There is no free lunch.

your right i did have it backwards.

but i see what you mean.

If you dont have a focus puller, couldnt you open up the aperture all the way so you have a deep depth of field, or shoot wide? I mean it would work for some shots but not the tracking ones.

No offense, but you might want to consider why you're there, or maybe another line of work. The only time I ever felt any anxiety was when I was fresh out of high school and on my first studio shoot. After that it was all about getting the job done.

You dont want to be over confident about a project either, its good to have some anxiety

My only advice would be to better time your cuts to the music.

In all honesty, as a Cinematographer, you're still a storyteller. I'm not sure how much experience and content you have under your belt, but cutting in a more narrative style (even if it's still edited as a montage) may reflect well on you.

Ive only been doing freelance for about two years. Most of the work I've done is music videos and documentaries. Ive done very little narrative work, which is why i didnt put any dialogue scenes

this is impressive for any age, but especially for a teenager

i would like some feedback. What do you think?

here it is, any thoughts?

another question, does it matter if some of the shots are cropped for widescreen and others arent?

ok i'll rephrase that hahaha, should i include static shots as well?

so for example if i put too many dolly or tracking shots that would be a bad idea?

What types of shots do clients look for in demo reels? What should I include to sell myself as a cinematographer?

Any advice to transforming this location into a concert scene? I have never lit something this big before and a little overwhelmed.

The set up of the scene is that a girl meets a guy at concert while she's taking photos of the guy's band. We are expecting a lot of extras as well.

Here's the location

im fortunate to have supportive parents who are happy that Im putting my name out there and doing any job I can find. I landed my first AD job on a indie film and have a PA job on a big budget music video.

My parents did suggest i get another job, and it seems to be recommended here as well. Im just trying to figure out what that would be.

great visuals but i agree, a bit long

good shots, but a lot of the effects look too amateurish

So here's a question, for freelancers who have done this for many years, do you have a second job?

ive been thinking a lot of it has to do with where I live. Im in Maryland and the film industry is very small. The only fellow graduates i know that are getting work are members of the ICG local 600 and the IATSE.

Are guilds/unions a good way to go? The guys i know seem to be getting steady work.

Is the film industry truly about who you know? I ask this because I am stuck as to where to look for work that will pay.

Could someone advise me on what direction to go? Im hoping I will find that one gig that will lead to bigger and better work, I just dont know where to look

Im fortunate to have parents that are supportive, but I really don't want to have to find a "back up career". Maybe finding work is something students should be taught in college?

I graduated film school in May of this year, and I have networked with some fellow classmates and have gotten some paid gigs, but not enough for steady income. I have my third interview this week for another possible production assistant job that may or may not pay.

Here is my question, am i looking in the wrong places, or is this industry truly about who you know? I know several classmates who are getting steady work and can support themselves, just 1-2 years out of college.

I love film and film making, and really hope I can do it for a living.

I think it is a good idea to move from dslr to an actual camcorder. It seems like fs 100 is pretty decent if you cannot get the newer 700. Bmcc seems decent, being raw and 2.5k. The question is do you have the means to handle raw or any other less compressed camera systems? Post workflow tends to get pretty much same as shooting on film. Many people think.it is great to have raw or other less compressed pro cine cameras without realizing what comes during post. Since it uses a massive amount of data, you will most likely need a dedicated person to handle post production workflow. Also, bear in mind that digital cameras tend to be obsolete in no time. If I were you, I would look into 35 or super/ultra 16, because, then all you would have to.do is rent pl glasses and maintain your camera.

I don't have experience in those types of camcorders. I was trained on the Panasonic HVX and the Canon GL2, I actually own a GL2. Though I don't use it anymore