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Found 15 results

  1. Hi cinematographers I’m a guy from germany/switzerland who loves films. So I started out making them in June. This is my third project as a one-man-filmcrew, armed with just an iPhone and some basic filmmaking-tools to learn the craft. My only actress was my girlfriend who supports me whole-heartedly. My goal is to find a way to break into the industry independently or start my own career as a self employed film- and/or video-creator. I'm not 20 anymore, so film school would be no real option for me, especially here in germany were taste seem to be poor and the film schools are pretty rigid systems. So to make up for the lack of mentors, my hopes lie on the internetz – and I wanted to ask you for some honest feedback about my latest work. Because while I think this film works, I’m not really satisfied. I just can’t put my finger on what it is exactly. I would very much appreciate every feedback you are able to give regarding the cinematography, editing, story, sound etc. - of this film. Thanks in advance!
  2. Hello everyone, First time poster here, and I am shooting a promotional video for a martial arts competition coming up where my entire crew has 0 experience with gripping (family and friends). It will be my first time also using bigger lights, and I also have 0 set experience. I want to be most prepared when approaching this, since I'm dropping my own money to rent equipment, and I'm asking a lot of favors. I need your help going over my whole thought process to see if there are any big errors. My budget is under 500 dollars so please keep that in mind. Basically, I'm trying to get the look in the 3 reference stills. The content of the video is a fight scene very similar to the wushu stills. My interpretation of how I can get this look: It looks like they used hard a hard backlight with bounce from the floor and a bead board to get the frontal fill, then hazing the room to get the shaft of light. The room: I have attached a picture of the location below. I have access to a 40x60 foot room, with 20 foot ceilings. The included photo has a rubber mat but when I am shooting it will have a shiny wooden floor. The ceilings are white and the walls are half wooden and half white. The Light: I added a diagram so it will be clearer. I am thinking of using one or two ARRI Fresnel 650w, since it will be in my price range. I am not sure if it will have enough output to get what I want. Also, I want to rig it as high as possible, almost like a top light, but not sure how I can get it there. There will also be candles placed in the cabinet on the back wall, and I want to make sure it will show up with the exposure set to the Fresnel. Light Modifiers: To control it, I was thinking of going full spot and using the barn doors to get it off the background and the ceiling. I am going to put black bedsheets on 2 c-stands, one on each side of the talent. I am also going to use a bounce light into the talent’s faces so they are not completely silhouettes. For Haze, I’m planning on using Atmosphere areosol, Demonstration of the product Camera and Lenses: I am going to rent a sony A7sii (never used it) since I have heard good things about its low-light capabilities, and also rent a 24-70 mm sony lens, since it feels safer and less likely to screw me over than a prime. Questions: My main questions, from most important to least important, since I don’t want to take up too much of your time. Will my method of controlling light work? If not, what are some low-budget alternatives? Is the 650 watt Fresnel enough output for what I want? How can I get my light as high as possible? Can I get this lighting setup done in 1 hour by myself or with an inexperienced crew? Should I use a different camera within my budget? Should I rent a sony a7sii that I have never used before, or use my Rebel t4i that I know in and out? Should I use primes instead of a zoom? I know I will need one wide shot and the rest will be waist up and some closeup inserts of the hands and faces. Opinion on Atmosphere Aerosol? Should I rent a machine instead? I would also like help with the rigging and electrical components of how I can make this work, but I know this is the wrong section to post for that. Thanks, I hope I wasn't too annoying. Basically, I want to recreate this look
  3. Hey everyone! I've had my late grandfathers old super 8 camera and and projector sitting on my shelf for a few years now and I'm determined to make this summer the summer I actually get some use out of it. That being said I'm totally new to all of this and I'm hoping to pick some of your brains about old super 8 cameras What I have is a Bell and Howell autoload 308. By no means anything professional, but I'm hoping to breath some new life into it. I've put batteries in it and it seems to run just fine, however my biggest question is about the "electric eye" or automatic exposure feature this camera has. I put a new battery in that as well and it doesn't seem to be working. The original user manual says that if the battery is dead a red flag will be displayed in the viewfinder, which it does. But even after I changed the battery it still displays the overexposure flag and doesn't change at all. So my guess now is that because the film cartridge itself will tell the camera what the film speed is the automatic exposure won't work until I have film cartridge in there... So how does the cartridges work, and how do they tell the camera the film speed? I'd really like to make sure my camera is fully functional before I invest in the film and processing so if anyone has any tips for testing and trouble shooting old cameras I'd greatly appreciate the advice! Best, Ray
  4. I just bought a Bell & Howell Filmosonic Director Series super 8 camera and have been having some issues with it. I've never owned one of these cameras before and am a bit new to using film cameras in general, so I apologize if the resolution was glaringly obvious. I put batteries in and it ran well; the lights turned on when I tested it, but for whatever reason I can't see anything through the viewfinder. It's just black. Could something be blocking it from the inside or is it broken?
  5. Hey Everyone! I am trying to buy a Super 8 camera for a short film I want to make. I have found a Canon 1014 AZE within my price range, and I would love/need advice on this camera. Is this a good camera for a beginner and what film would I need to buy for it? I want to be able to transfer my film into my editor, how and where can I get this done? Anyone who has operated or owns the Canon 1014 AZE, please let me know what you think of this camera overall. Would really appreciate the help and advice on the Canon 1014 AZE the most. Thanks!
  6. I'm about to shoot a short film and have a question about focusing the lens of my bolex cam. Should I eyeball it? Or do I use a tape measure from the lens to the subject and then calculate that and adjust the focus ring by what the tape says? I want to be as accurate as possible. The lens is 12.5mm
  7. Hi! Im an aspiring cinematographer with a tiny body of work, if anyone has time Id be happy to hear some feedback. All work was done with Canon 5D mkIII and Magic Lantern RAW recording mode. Thanks! Here's my portfolio: https://www.behance.net/bpawlow
  8. Hi, Sorry, this is my first post. Im about to start filming my first year graduation piece and I'm not sure what stock I need to order. It will have a mix of interior hallways (a school's corridors with low angled lighting entering through doorways) and early morning exterior, 9/10a.m. (note that I am in Ireland so it is generally over cast) The school is lit with those fluorescent ceilng tubes which, I know give a green tint to skin tones. -This is my big issue, I am desaturating it in post production and I need to know if this greenish tone on the skin will affect the contrast on the characters' faces etc.? -Will my additional lighting clash with the fluorescent? -What gels/filters are applicable? -Also, of course: 250T or D? -And do I lose a lot of speed by balancing the existing flourescent lights with my stock.
  9. Alrighty, looking to purchase a Super 8 camera to get the experience of producing something narrative through the film medium. Ive been shooting alot of HDSLR narratives...but i'm excited to have an opportunity to shoot and edit on film, and really feel the value of each and every frame. Saying that, I realize how niche Super 8 is. It will be expensive, so i've determined that I will try shooting and developing the film myself, editing linearly, and projecting to view. If I do decide to digitize my media, where is the cheapest to get 1 or 2 carts developed and have decent 1080p scan. I live in Ohio, so centers in New England would be better. On to cameras... I want to get the cleanest image I can from Super 8, and generally want to treat the process as much like shooting 16mm as possible. That means that I will try to manually expose every scene I shoot...how consistent is that to do compared to HDSLR shooting? Also, whats the deal with stocks? How does the 100D differ from the 200D? Where does asa rating come into play? Generally what are some tips for dealing with tri x? Finally, which camera would be best to invest in? I've been seeing the Nizo S800 and S560 models and Canon's 518sv models. Are these "good" cameras? Which has better glass? Are there any that are gonna be better/more bangy for bucky for what I want to be shooting (Alot of tripod)? Also, I am kinda mystified by the price differences between cameras. Does it all come down to features, because it certainly appears like the huge price differences have to be coming from somewhere else. Perhaps manufacturing standards? Thanks for any responses...I know I have a lot of questions, and I really appreciate any help that you can give me:) Looking forward to jumping in, Jackson Clark
  10. Hello! I've just started putting together a youtube channel with little behind the scenes videos, tutorials and advice for the aspiring, young, or otherwise "new" cinematographer. I've had many colleagues and students express frustration at the daunting task of "learning how to light". While complex in many regards, it also merely requires you to begin by putting one foot in front of the other... Take a look and let me know if you find this video helpful! Laura Beth Love, Cinematographer www.lblove.com
  11. Alright, where to start... I'm a young aspiring filmmaker whose had a passion for making films ever since I was 6. Self-taught, I've made films all on the digital format, and recently, I've been shooting short films on the Canon Rebel T2i. I'm all for manual control, and I'm a pretty big hater of auto focus. Being that most of the filmmakers that inspire me shoot on film, and that it's (sadly enough) slowly dying, I've decided I want to move from digital to film. Now I understand that a great place to begin is with film photography. I've signed up for a photography class (showing you how to shoot and develop film) for my Junior year, and I've also been reading through the web and these forums to understand the film process. My first set of questions are: What still film camera should I begin with? What type of film should I use? Anyway to make a cheap DIY dark room setup? After some practice with that, I wish to begin filming short films (after some more tests of course) on a motion picture film camera. I have in mind using a Super 16mm camera, however that may not be the right choice depending on your responses. So here is my big set of questions for you guys: Which Super 16mm (if I should even use a Super 16mm) should I shoot with? Which film stock should I shoot on? What are the differences between types of film stock? I understand that there's the 'Ultra' modification to convert 4:3 to 16:9, is there any other way to do this (2x anamorphic lenses)? Or could the gate be easily modified on my own? Should I use light meters? If so, which ones do you recommend? What's the best and affordable way of a HD DIY telecine? I understand you can send in your film to get it processed and telecined, but which one is the most reliable and affordable? How to properly light an indoor scene? How to shoot at night (EXT and INT)? Recommended books or websites? __________________________________________________________________________________ As for my tastes and interests (as it could help you answer my questions more specifically): I love Hitchcock, Welles, Nolan, and Kubrick. Film noir has always intrigued me, and I love the look of it. I guess you can say I love low-light photography and cinematography. A modern DP that I dearly love is Wally Pfister, and I understand he shoots on film. If I asked him these questions, what would he say? I also understand Chris Nolan shot Following with an Arriflex BL 16mm (don't know which model). I love the community here, and I hope you guys can understand my switch to film as I think its the true magic of cinema. Thanks ahead of time for checking this post out and taking the time to respond to newbies like myself. I hope to deliver my style and form of storytelling with film. Thanks so much guys! *do note that I own a Bell and Howell MS 30 Super 8mm (no stock)*
  12. This is my IB Film Studies final group project. I wrote, directed, produced and editted it. Please let me know what you like about it and what I can do better next time I make a movie. Thanks! http://www.youtube.com/watch?v=a0iQVVK3q8g
  13. Hey guys. This weekend I'm filming a music video for a friend and I was wondering if you had suggestions for a free editing software that still does a decent job? She's covering a Lorde song so the video switches between a party and a peaceful setting that she she keeps having flashbacks to. Thanks.
  14. Hello I'm a writer currently at work on a novel in which one of the main characters is a cinematogapher/auteur. (he's making a documentary). He uses an Aaton LTR 54 and the story is set in the late '70s - early 80's. I've tried without success to get my hands on one these cameras and I'm aware that merely reading a cinematography manual will only give me a fairly superficial idea of what it is to make such a film using this sort of camera. However, at the moment it's the best I can do. Aside from a reasonable grounding in the technicalities of the LTR I'm mainly interested in the practicalities of shooting in certain kinds of natural light (indoors and out), weather conditions, and so on. If there's anyone who can recommend a good cinematography manual on the basics of shooting 16mm, (and if possible, with an Aaton LTR) I'd be very grateful if you'd respond to this. Many thanks, Graeme Williamson
  15. Currently making my first short film and I'm not very experienced in editing. Any suggestions on what to use for editing?
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