Jan Tore Soerensen

I've travelled with a variety of gear, and haven't had any issues so far. The airlines are so used to people travelling with all kinds of weird stuff, that they have routines for all of this. Cinema cameras and Pelicases will have to be checked in, but I usually bring my smaller system camera with me in my hand luggage. No issues with batteries for drones or big cameras so far.

Thank you for the great feedback! The reasoning for using a smartphone, was for it to be relatable to a 2017 reality. I do like the idea of showing some sort of picture on the phone, but some of the idea was for the audience not to know what was happening till the very end of the short. That could have still been achieved showing a picture of a couple though. It's a great camera if we expose it properly. This was all with the 100mbps internal 4k, and light grading. Thanks for the feedback!

Thanks for the feedback! There was a lot of weather on that particular day, so it actually happened naturally. In grading i made sure the clouds popped a little extra. I understand! I had some issues finding a sound that was decent here, as we didn't record him firing the shotgun, which we should have done. Again, thanks!

Good morning! I have been making films for quite a while, but this weekend, I shot my first fictional short. Would love some feedback on it. We were part of a 48 hour film race, with the theme being headwind.

But we don't necessarily know the DR of the display we are showing at. It's not like we have a slider in Premiere that says, 5-20 stops. When we export from premiere, let's say we have an image with 10 stops. If that's shown on a projector that can handle 8 stops - then that 10 DR image is projected at 8 stops. Is this correct?

Aha! So we are capturing a higher dynamic range, but that DR isnt preserved all the way through to the final deliver. That makes sense. So a camera that is able to capture, lets say 9 stops, will end up at maybe 6-7 after a light grade. And a 15 stop camera, would end up at around 10, and retain more detail in the lift and gain? Thanks for all the input!

It recently came to my attention that most panels today can't display more than 10-11 stops of dynamic range. I read this in a blog post, so I don't know if it's factual. How can we then see a huge difference in retained high- and lowlight if the monitor display isn't supposed to be able to show it? We can obviously see a huge difference between a 5d2 and an URSA Mini. Can anyone elaborate on this? Thanks!

I concider myself above average on sales, and there will be many no's before a yes. It's about chosing your battles, going for the right type of client, and valuing a relationship over short term money. For me, it's about meeting new people, which can come through cold-calls or referrals that turn into meetings. This turns into you listening to their problems and figuring out their needs, and from there, pitching them an idea at a certain price. If the price is too low, they won't take you seriously. Too high? You won't get the job. Over time, if you and we do good work, and hopefully stumble upon genius at some point, recognition and reputation will come. Most of the work we have done so far, has come through people I met at some point, or from previous spec work. And for clarification, we mostly produce video-content and marketing for businesses on Facebook, and the occational cinema ad.

That seems like a very good solution! Thanks. Great suggestions! Thanks :)

Yeah - dutch or tilted, but while moving and pushing in. I guess that is something I would need a crane or something like a Shotover gimbal for?

Good afternoon! I am a huge fan of creative cinematography. Obviously we create images that first and foremost enhance our story, but personally, I like to be creative with it. Now after watching AHS, using the roll-axis has been stuck on my mind for a while, but as far as I can tell, this is usually done by huge heads on cranes. We have a Ronin, but it doesn't seem like we can actually controll this axis. Any ideas from the seasoned cinematographers in here? Also, is there an industry name for these shots? Thanks!

Thank you for the great input guys! The situation for us now, is that we are 3 guys working together on projects. We have been at it for one year now, and I realize that is nothing in the larger scheme of things. Our work is improving, and will continue to do so as we keep on shooting. My goal is to work as one of the directors in our company, but since I am the founder, I feel more like an entrepreneur now, going from meeting to meeting setting up projects. Which is totally fine! We will hire a salesguy to do that later. At the moment, we are shooting mostly low-budget work for stores and small businesses. All in Norway, where we are from. We see that most productions companies here have a revenue of $500-700k. So reaching that income level would be the first goal. Maybe we should reach out to businesses outside our country?

I know, but thats usually comes down to coincidences. And we cant base our careers on that.

Good evening. How should we as a production company approach getting collaborations with agencies? Is it all reel-based? Luck on meeting the right person? Wait till one of our commercials grabs some attention? Any input here is really appreciated. Happy new year!

I have been fortunate enough to shoot on a lot of different cameras now. While I see the use for highend cameras, there really is no need for it for web delivery. A mirrorless camera with good glass holds up so well even on larger screens. I shot this video 50/50ish on Red Epic MX and GH4, and most people won't be able to tell what is what. https://vimeo.com/182695101

Not if you're a likable person. If on the other hand you are negative, always complaining and never provide any real value, then sure!

So, an Alexa 65 :D

How so? I feel like the REDS are very easily shot handheld or with a simple shoulder rig. Just shot with an Epic a couple of weeks ago, and other than being heavy, it was very managable. Can't compare it to the Alexa mini, as I haven't tried it yet.

I'll tell you why you and so many people aren't getting the amount of work you want. Because you are not very good at marketing and selling yourself. It is extremely easy to think that once one is at a certain level of skill, work will come by itself. That's how you die in the business. Fantastic reel by the way.

Saw it a couple years ago. It's ok.

Cool! Good to see I'm not the only one who likes to partly submerge cameras.

Very nice input here. Tips on newer good stories are also welcome.

Good evening. Over the years, I feel like I have missed a lot of good movies. Both older and newer. So, I'm looking into tips on really good movies to see. What are your favourites?

Most important factor is being likeable, and able to sell yourself. Networking is crucial, while you are building a good reel of work that you're proud of. Of course, it depends on what kind of work you want to do. I chose the field of commercials, corporate and weddings, and also trying to push into music videos. I've been taking paying jobs for about 9 months now, and so far, I've done and booked projects for about $15000. And that is with no prior reel to show for. Shot my first paid gig with a cell phone.

Another tool in the box. Quite clever, I must say.