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  1. I'm lost on what type of resume I need. I know eventually you'll get jobs based on recommendations, but I'm not there yet. Right now I have two types of resumes. For example one resume has my job experience of when I worked in my school's library, working at a movie theater, and my current job working as a PA at a news tv station. My other resume ONLY has PROJECTS I've worked on and what position I was. I dont have many in my post school career, but I'm starting to rack up a couple of professional PA gigs. My thought process was I should sort of make a combination of these two? To show for exa
  2. Hi,This is my recap about American Cinematographer's question What’s The Best Professional Advice you’ve received? from ASC CLOSE UP start with issue Vol 85 (2004) Enjoy , to be continued... https://fabiopirovano.wordpress.com/2016/01/09/since-vol-85-asc-close-up-best-professional-advice-recap/
  3. Hello fellow filmmakers! I have been editing in premier and color grading in davinci resolve. Ive actually enjoyed the process more than I thought I would but am curious how to achieve certain moods and tonws. I love the memory type of colors we get in call me by your name during the grass scene how might I achieve that? Overall the film has a very blue tone so how might you suggest I grade more romantic scenes, sad scenes, neutral scenes? Lastly, I have had trouble transferring slow motion from premier to resolve any advice? Thanks so much! Tyrone
  4. Hi, I'm traveling to South Korea for possibly 2 years & was curious to know if anyone has had any experience working overseas in an Asian country. Was the language barrier an issue when finding work? Would foreign production companies be willing to hire foreign cinematographers? Any general advice? Thanks
  5. Hey everyone, I've been looking for a solid, hands-on introductory class for a while now and I'm looking for some advice, recommendations, tips, things to look (out) for. The program should give me a foundation on which I can build for the coming years. I want to learn the tools and craft, not how to use a particular camera. I've found three solid options so far, and they are: 1- Maine Media Workshops (Maine, USA): 10 week intensive cinematography workshop. PROS: Asked around and this program is definitely solid with some world class instructors. CONS: Extremely expensive. (16k)
  6. So, I've posted this on a few forums, and if you've seen this already, I apologize. I just bought an old set of Came TV 900 LED panels for a very low price. They are very bright and the quality of light is great, but they have a magenta shift. Do I send them back or just buy some plus greens and go on my way? Does anyone else own these panels, or have this issue?
  7. Hi all! I’m DPing a short road trip film next year that takes primarily in a car in the desert. I have some experience shooting in a car before, but would love any advice, input, or words of wisdom that you all may have in regards to doing it right and/or better. Moreover, if any of you have any car scenes from any film or show in mind, I’d love to hear them so I can study them as a reference. This is a low budget indie short film, so any advice on car rigging on a budget is much appreciated. I’m primarily looking at the Blackmagic Micro Cinema Camera as our main camera as it can easil
  8. Hello all, So as I talk to my friends and coworkers who are DPs and have talked to more ASC members about their beginnings, one common trait I have come across is that they have a mentor. Some have been taken under the mentor's wings by either the MENTOR asking them or vice versa. I want to hear from any other DPs and their experience with this? I was talking to a Script Supervisor on set recently and she was telling me that she emailed Script Supervisors that she hasn't even met and some have responded (union members) answering her questions and offered her to learn from them (as in to ad
  9. I'll be traveling from LA to Berlin, Zurich, and then back to LA and I was curious if y'all could tell me about the restrictions/regulations of traveling with gear. I'm trying to put together a small camera package that can be put in to the overhead compartment, I know there's some business with lithium ion batteries so that's definitely a concern. Also, any recommendations for cameras of the 4K variety that are compact would be amazing. Thank you in advance!
  10. Ok, more than ONE question, I admit! :) I am a VERY beginning filmmaker who has not an iota of filmmaking and directing experience. Yet I have the dream of creating this huge, complex, well-polished independent short film using motion picture film and professional movie cameras. I am tempted to laugh at myself and say to myself, "Dude! You have no experience! Snap into reality and realize: you will not make this film and make it how you want it, without some type of filmmaking, directing, and cinematography experience." I am sure that is true and so.... I have no video camera exce
  11. Hey guys, I apologize for the long email, I just want to make sure you see the big picture. I've got a potential deal on the table that I feel like is a little too giving on my end. I plan to meet back with him and go over my concerns, ask questions about potentially changing the deal, maybe making a counteroffer. But I want to have my guns loaded, be prepared, knowledgeable and know what options are available on this subject before I do so. I've got some questions, and I also feel like there are questions that I'm unaware of out of ignorance that I should be asking. I've broken this up into p
  12. I currently work with a bunch of tungstens that have been getting the job done. I would like to buy an HMI but they are just so expensive. I would like to spend 1000-1500 for one so I have to choose between buying used or buying one of the cheap ones from China new. My main motivation behind buying an hmi is to be able to light people during the daytime while the sun is out. My two options are: A. to buy this new chinese 1200w hmi for $1240 here There's a video review of a guy who tested it out (embedded in the site) and says that it's worth the money and risk of buying off-brand c
  13. I'm starting to look into purchasing my own fluid head and sets of sticks. I typically work on set with the Sachtler 80 and O'Connor 2575 heads, but would like to invest in a head for my own equipment kit. While I'm not in the market to purchase neither of the heads mentioned above, I would like to look into a possible vintage head that would work well with my RED One MX package. Typically my package is fully kitted and lensed with Zeiss Super Speeds, but I occasionally use LOMO Anamorphic lenses, or an Angeneiux 25-250 zoom. I'm currently looking into the O'Connor 50D fluid head, and
  14. Hello all, I'm an aspiring film director/producer, entering UTA next year as a freshman. I constantly hear that you need to be in LA for the film business, or that everyone ends up in LA, and I wanted to know a little more about this. My question is, why? Why do you need to be in LA? I lived there when I was younger, and all that I remember was that the cheapest dirthole was still more expensive than my modest house in Austin. Also, I've had friends tell me how strict LA is on permits, whereas in Austin, I was shooting on the street w/o any permits and a police cab came up and offered to
  15. Hey this is my first post here so let me know if I'm screwing up out the gate. I've been shooting shorts with a DSLR and some cine lenses for about 3 years now. For 2 of those years, I've had a pair of LED lights made by Bescor in my arsenal, here's a link to them for the stats/info: http://www.bhphotovideo.com/c/product/819592-REG/Bescor_LED_95DK2_LED_95DK2_Dual_LED_Light.html Obviously, I don't know my way around lamp statistics, applications, etc. and wanted to post what I don't like about these and hopefully get some advice from you guys on what specifically needs to be better. Th
  16. Hey, I am a Film Studies student and hope to make a stop-motion animation as a side project. I was just wondering what DSLR-type sensor you would recommend for the project (have to be under £600) and what software? I'm hoping for a cheaper version of DragonFrame... Well, actually, camera wise I've been looking at the Canon EOS M3 or the Nikon D3300 (which is an SLR). What do you think about either of these or could you think of an alternative? I really appreciate you reading this and if you answer, thank you very much.
  17. Hi all. I am shooting my first reality tv show. It is a big break for me. I am really excited for this. It is happening fast and what seems last minute. If you have any experience and wisdom to share, it would be greatly appreciated. I am the main DP and local fixer for this show. Besides myself as A camera op, my team is a B camera op and an audio person. How fast does reality tv shoot? The director mentioned something about bonuses. Does that really happen? Thank you in advance.
  18. Hello, I am the 1st AC on a short film that's coming up and I was wondering if anyone has some advice when it comes to shooting on beach locations? We are using a combination of film and digital. Cameras include Arri Alexa, Arricam LT, and Arriflex 235. I believe we are using just film while on the beach and it looks like it's going to be mostly handheld at this time. Thanks, Erik
  19. Hey guys! I'm new here but glad I found this forum. My new to filmmaking in general but have always had a passion for film especially in the realm of horror. Just recently, I took a risk and just did my first short horror film. I recently completed a little 2 minute short for a contest with Chiller TV. I didn't win...but I got out of my comfort zone and took a risk. I LOVED IT, though I told myself I should just give up and quit. I realized after feedback from multiple people, my story for this short was very weak. Hard to follow. Putting myself out there with all my mistakes
  20. I'm a senior in high school and I really want to go into the film industry, the problem is that I live in one of the smallest towns in Alabama with very little money. I have no idea how to get started, or where to go, should I go to film school? I really don't want to be 80,000 in the hole but to accomplish my dream I'll honestly do just about anything, does anybody know what I should do? The only experience I have is filming my schools athletic events for the coaches with a home video camera, please help if you can. Thank you, Peyton
  21. Hi To preface this post: I apologise if this is not the place to be posting my work. I had a brief hunt on this forum for a set of dos-and-don'ts, but couldn't find one (further apologies if I'm just being dense). I have spent the last few months (on-and-off) colour grading my latest short film - shot on 4K with a RED Epic camera - to be ready for festivals. I would really appreciate feedback from any sets of better-trained eyes as to how I've done, and if I could do better before sending it out. I use Magic Bullet Looks because it's cheap and accessible for a first-time grader lik
  22. Hello! I am new to this forum and this is my first post. I'm graduating in 3 months and I am looking for a direction to build my career in. I know I want to pursue a career in feature film cinematography. I've shot quite a few things while in film school and have built up a reel with photography portfolio as well. But I know I still have much to learn. Website: Montgomeryimages.com My questions is this: If you want to build a career in cinematography and do this for a living which is better to do? 1. Go to the nearest budding film city and work from the bottom in the Grip/Elect
  23. hey all, posibility of traveling to Haiti with small crew by the end of the month to do some doc style/ live music filming. Was wondering if anyone had done any work or had speant any amount of time in haiti or filming in a similar country. Any crew support? security & health concerns, things in general to watch out for.... anything will help Thanks in advance!!
  24. Hello all, I have a bit of a dilemma with a scene I am shooting where the director would like the lighting to change from night to day in one shot. The shot is in a (small) kitchen on a mid of a man sleeping at a table. We have a 400w HMI, 2k blonde as well as an 800w fresnel and 2 650's. We don't see the window in this frame which does help out a little. I was thinking of simply blacking out the window and then slowly letting the light come through starting at the top and moving down so the daylight hits the top of the ceiling first and then spills down to fill the room, then re creat
  25. Hi all, I'm shooting a feature in Cape Verde this feb-march and although I've shot in Africa before (Burkina Faso & Zim), never a feature and at this level. Just wondering if anyone has any pointers on obvious issues and possible solutions to them? The whole shoot will be in a city with (albeit limited) access to power. Apart from the obvious issues of travel, accommodation, food & drink etc. the main issue we'll face is the light - top sun, dark skin tones, literally no golden hour (I think we'll be at around 17 degrees north), dark as death during the night, restricted access
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