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  1. Back in November 2019 my friend Borja Larrondo asked me if I wanted to shoot a new commercial for Medecins Du Monde like the previous one that we had shot together in 2018 but with three twists: 1) It was going to be set in an unknown (at the time) location in Africa. 2) We were going to document what was happening in that unknown location in Africa. 3) It was going to be during nighttime and with no light at all! I obviously said yes and after months of discussions and preparations we went to Sierra Leone to shoot a documentary about the reasons as to why hospitals there didn't have electricity and how that affected the people from different areas of the country. We were in Sierra Leone for several days and when we went back to Spain we had 3 days to review the material and edit it because Medecins Du Monde Spain wanted to launch the campaign as soon as possible.. Nerea Mugüerza, our editor, did an amazing job with all the footage that we got, she really shaped the documentary and created a sense of story. Not only that but she also created the different cuts for the commercial campaigns that the client wanted to deliver. Right after those 3 days we were ready to colour grade the commercial cuts and then Covid happened and Medecins Du Monde stopped all the processes. At that time we were really sad because we didn't know when we were going to be able to show the reality of what was happening in Sierra Leone but it really helped us achieve what we wanted to achieve in the post production process with the documentary and the commercial campaigns. Because of Covid we were able to work with extraordinary colour grader Jenny Montgomery from Company 3, which was like a dream for us because we didn't have any money to give to them. We sent her the material and when it came back it was the first time in my life that I didn't have anything to say in a colour grade other than: "WOW!". Sound postproduction had more time to work on it and when we finished everything several months later we still didn't know what was going to happen with the commercial campaigns. It turns out that Medecins Du Monde did know what was going to happen because they asked us to shoot a similar documentary in December 2021 focused on the lack of energy in one part of Madrid called "La Cañada Real", which you can learn about on here (https://www.theguardian.com/world/2021/oct/27/you-kind-of-die-life-without-power-in-the-canada-real-spain). I joined Borja and we went to La Cañada Real to talk to people and convince them to let us film their daily lives, after one week being there we grabbed a camera and we started shooting for 2 days. This time Medecins Du Monde Spain wanted to broadcast the campaign as soon as they could and that meant that we weren't going to have the luxury of time to post produce things as we wanted. Regarding colour grading we decided that we wanted to work with people who understood Madrid and the culture of La Cañada Real and after some suggestions from the production company, Lobo Kane, we went to colour grade with GradePunk and Sebastian did an amazing job trying to maintain the quality of the colour grading that we had in Sierra Leone but giving a distinctive look to the part in Madrid that he was colour grading. The great @Phil Rhodes wrote a wonderful article about the documentary back in July 2020 when we were in the middle of knowing who was going to colour grade the documentary. You can read about it on here: https://www.thebroadcastbridge.com/content/entry/15328/creative-analysis-part-3-the-road-bad-the-place-dark-from-the-cinematograph As of now, the documentary has been selected and showed in different film festivals and has gotten one cinematography award, the BEST CINEMATOGRAPHY AWARD (INTERNATIONAL SHORT) at the Thin Line Film Festival. The commercial campaign has gotten two cinematography awards so far. Best Cinematography at the Emerging Directors Awards 2022 in Ireland and the Bronze Award in Film Craft in the CDEC in Spain 2022. You can watch the commercial campaign here And the trailer for the documentary here
  2. So I was thinking back to something @David Mullen ASC said on one of my posts awhile ago, about the "the desire to spend a lot of money to own a lot of lighting equipment" and looking back, it brings up something i haven't considered and kinda accepted as a yes uncritically, and thats whether cinematographers should even aspire to own lighting gear. I took it as a yes owing to online spaces beating the drum that cameras aren't important but that lenses and lights are, "Invest in glass and lights" they say, which isn't completely wrong, but just kinda misleading as people say this, but then when pressed on what they mean on lighting, they always mean lighting gear (either in the individual fixtures themselves or in how many fixtures) that is really only good for interviews or really small spaces and not in any filmmaking scenario that takes in larger spaces (as it would defeat the idea of the Ultra portable lighting kit you can have with your personal little camera bag and take with you around the world like all of those travel vloggers), as from the past year I've been seeing lighting setups and the conclusion I've come to is that the amount of light needed is heavily underestimated by alot of amateurs, including myself. I can only see someone hitting ceiling after ceiling with lighting gear and going for more and more in response, which then I ask, why bother? Why not avoid the hassle and just stick to renting what you exactly need? I always answered this to myself by saying that maybe the rental outlet may not have what you exactly need or in locations you may not know what availability you will have access to, hearing about Roger Deakins expansive use of maxi brutes or Sean Bobbit's of six 18ks for a gymnasium really sobered me on this, making me take a step back on whether to really go for an extensive lighting kit to own, even if i was going to rebt it out, let me know your thoughts.
  3. While shooting a night scene in slog3 why we should shoot it 1 stop over at 12800 ISO, so as to have low noise, but if we raise the Iso from 800 to 12800 doesn't that increases the noise ? I am confused please help me, I want to use slog3 for night shoot without having noise so that I have full opportunity for color grading.
  4. Hi all, I thought you might like to know all about the new and VERY rare LEITZ PRIMES from Leica/Leitz! They're spherical cine lenses and produce incredible, vintage-like rainbow flares. Leitz claim the Leitz Primes are ‘the best of the best’. As Shift 4 are the only UK rental company stocking this state-of-the-art lens set, they invited some of the UK’s most talented Cinematographers, DoPs, Focus Pullers and Camera Operators to a lens test and also shot a short film to investigate the Leitz claim. Then they wrote an article all about them. Read the full article here - it includes downloadable 6K RAW files, which I thought you might be interested in so you can make your own assessment on them! Suitable for high-end productions, you may have already seen the Leitz Primes in action. Seamus McGarvey BSC ASC ISC shot Cyrano (2021), awarding him a nomination at the BSC Awards for Best Cinematography in a Theatrical Feature; Balazs Bolygo BSC HSC used them on the Netflix series Anatomy of a Scandal (2022) and Tony Miller BSC shot the highly anticipated Mr. Malcolm’s List (2022) with the Leitz Primes, which is coming to screens in July 2022. The Leitz Primes are full frame, fast and spherical lenses, designed from the ground up and are very different to other Leitz lenses. Shift 4 have a set of 12 focal lengths available (ranging from 18mm-180mm) and sought to offer the community a varied and professional review of their capabilities. Get your RAW footage HERE!
  5. For about 5 years now I've been trying to extract as much as possible, image-wise, out of each of DJI's Mavic "foldable" drones. I think the Mavic 1 was a good start but the 8-bit color could be fairly tragic, especially with reds. The mavic 2 really upped the game allowing for shooting in both D-Log and Hybrid Log Gamma, both in 10-bit. I've been playing with the Mavic 3 Cine for a few months now with is 4/3rds sensor and ability to shoot Prores HQ, what are your thoughts?
  6. LOS ANGELES (September 23, 2021) – The American Society of Cinematographers (ASC) will hold its 36th Annual ASC Awards on March 20, 2022. Recognizing excellence in cinematography, the ASC Awards honor the extraordinary work of directors of photography who have excelled in the art and craft of visual storytelling in feature films, episodics and documentaries. The annual ceremony will be held at the ASC Clubhouse in Hollywood and live streamed worldwide. The organization released its official timeline for entering the feature and television categories of the competition. The deadline for feature film and television submissions is December 5, 2021. To be eligible, a feature film must have a release date between March 1 - December 31, 2021. For any of the TV categories, a show must air or stream between January 1 - November 30, 2021. The four television categories are: • Episode of a One-Hour Television Series – Commercial • Episode of a One-Hour Television Series – Non-Commercial • Episode of a Half-Hour Television Series • Motion Picture, Limited Series, or Pilot Made for TV The ASC will also bestow a Documentary Award and Spotlight Award. ASC members nominate and vote on winners in these two categories. A complete timeline for the 36th ASC Outstanding Achievement Awards and additional details can be found on the ASC website. Key dates include: · Submissions Open for Feature & TV Categories Oct. 4, 2021 · TV Eligibility Period Ends Nov. 30, 2021 · Feature and TV Entries Due Dec. 5, 2021 · Spotlight & Documentary Entries Due (members only) Dec. 13, 2021 · TV Nominations Voting Begins Dec. 15, 2021 · Feature/Spotlight/Docu Eligibility Period Ends Dec. 31, 2021 · Feature Nominations Voting Begins Jan. 10, 2022 · Feature & TV Nomination Voting Closes Jan. 24, 2022 (Noon PST) · Nominations Announced (all categories) Jan. 25, 2022 · Final Voting Begins Feb. 1, 2022 · Student Awards Feb. 26, 2022 · Final Voting Ends March 17, 2022 · 36th ASC Awards March 20, 2022 Honorary awards, including the ASC Lifetime Achievement Award and Board of Governors Award, will also be presented at the awards ceremony. ASC was founded in 1919. There are over 420 members today who have national roots in some 20 countries. More than 250 associate members hail from ancillary segments of the industry. For additional information about the ASC, visit www.theasc.com.
  7. Hi All! As a student, each projects means a way to stretch myself further. If I'm not trying something new (or a little bit scared) on a project then I feel like I'm not taking steps forward. Lately I've been doing pretty in-depth floor plans and 2D pre-vis, and it has been working wonders for every project. However, I'm still working to get exactly what I want in my head to paper, so that on set my images are not a surprise. Is there a way I can tell how many foot-candles a certain light will output? I'm wanting to essentially know exactly how powerful a light I'll need to expose to a pre-determined f-stop. I'm familiarizing myself with inverse square law, so all I'd need is an output at any one distance and could work from there. Is this just a knowledge gained from experience? Or is there a practical way to determine output? Thanks, Jake Mitchell
  8. Hello everyone, I find interesting the work of some filmmakers like Paul Thomas Anderson who seem to be quite knowledgeable about photography in general, but I was wondering if any of you can recall any film directors who are (or were) mostly interested in the content of their work and not so much in the form, letting the cinematographer take full control on the look of the film. Thanks!
  9. Can you believe what made me cut this! - The Music track which i saw on the Davinci Resolve Website. Check out and give me your kind feedback on my shots from few of my feature films ! (apologies for few overly saturated shots-was done for youtube compression) thank you all Rajavel Mohan <iframe width="560" height="315" src="https://www.youtube.com/embed/wivAuZqOHgE" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
  10. For Sale Fujinon Premista 28-100mm T2.9 Large-FF Lens PL Mount Asking $32,000.00In good condition you will get an Inspection period to verify that it is a good working lens.You can call or text me at 917-499-9596 or email me barbara@newprovideo.com...Barbara Holler
  11. The virtual presentation of the 35th American Society of Cinematographers (ASC) Awards for Outstanding Achievement in Cinematography takes place on April 18, 2021. Awards for feature film, documentary and television cinematography will be handed out in seven categories (For a full list of nominees, go here). Writer-producer-director Sofia Coppola will also receive the organization’s Board of Governors Award. The live stream takes place at 12:30 pm PDT. For the first time in the history of the ASC, everyone around the globe will be able to share in the online celebration in their time zone: · 12:30 pm Pacific Time (Los Angeles, Vancouver) · 2:30 pm Central Time (Chicago) · 3:30 pm Eastern Time (New York, Atlanta, Toronto) · 8:30 pm GMT (London) · 9:30 pm Central European Time (Paris, Berlin, Prague) · And on April 19 at 5:30 am Australian Time (Sydney) To tune into the live stream of the 35th ASC Awards, register for a high-quality, HD viewing link via Luma or watch it on the American Cinematographer Facebook page.
  12. Hello, I am looking for a used super 16 package with a PL mount. I'm interested in a SR2 or SR3 or an Aaton XTR Prod. If anyone is interested in selling please let me know! Thanks!
  13. Hi guys! Here is a new video that I did recently. Happy to be able to share it! I would be glad if you watch it and even more glad if you let me know what you think about it! Hope someone will like it and also hope that someone will give me usefull critic. Also did a Behance project of the video. I'll be glad if you take a look at this too!
  14. Seems folks always beat me to posting the interesting stuff, but I'll keep drip feeding these as I think they're terrific and super candid. Rest is copied from the video's description: FEATURING SCENES & COMMENTARY ON - Blood Orange, Dazn, Ferrari, Adidas, Gatorade, Bose, NFL, Asics, Dazn, Michelob, Nemiroff, Tommy Hilfiger, Victoria's Secret and more. In our fifth episode, cinematographer Garrett Hardy Davis chats about the competitive new world of shooting remotely, where to find inspiration, how he got into the film industry, starting a career as a director of photography and behind the scenes of some of his latest projects. GARRETT HARDY DAVIS http://www.garretthardydavis.com/ https://vimeo.com/garretthardydavis https://www.instagram.com/garretthard... https://www.artistry.net/clients/dire...
  15. For Sale Set of 5 GL Optics Rehoused FF Leica Vintage 19,28,50,80 &135 Asking $34,500.00 Add $3400.00 for Duclos 1.7 Expander All in really nice condition.
  16. Cinematographer Kanamé Onoyama about his professional journey, a few memorable productions and his view beyond the current pandemic. KANAMÉ ONOYAMA https://kanameonoyama.com https://wp-a.co.uk/clients/kaname-onoyama https://vimeo.com/kanameonoyama https://www.instagram.com/kaname.onoyama/
  17. Taken from the industry showcase and networking channel of IN / DEVELOPMENT. Got their YouTube here: https://www.youtube.com/c/indevelopment Below is copy-paste, but the links are super interesting and Stephen's insight and honesty is wonderful. The series seems to have just started so might post more if they're great. Can't see anyone else mentioning them before. - - - Joe Douglas talks to fellow cinematographer Stephen Murphy about his professional journey, a few memorable productions and his view beyond the current pandemic. FEATURING SCENES & COMMENTARY FROM - The Favourite, The West Wing, The Moonstone, Hanna, Line of Duty, Years & Years, Krypton, Death and Nightingales and more. STEPHEN MURPHY - BSC, ISC https://www.stephen-murphy.com/ https://www.imdb.com/name/nm1094426/ https://www.wp-a.co.uk/clients/stephe... https://www.instagram.com/stephenmurp... JOE DOUGLAS http://joedouglasdop.com/ https://wizzoandco.co.uk/agency/joe-d... https://vimeo.com/joedouglasdop https://www.instagram.com/joedouglasdop/
  18. Has anyone here shot IR with the Panasonic EVA1? I own an EVA and someone asked me about it, I’ve never had a reason to shoot with this feature but I’m curious as to what situations it would be useful. Or is it something that allows for more creative options.
  19. A rare opportunity to discuss filmmaking with Rodrigo, Prieto, ASC, legendary cinematographer and collaborator with Alejandro González Iñárritu, Martin Scorsese, Ann Lee and more. Event date, May 14, 10 AM PDT. It's part of the NAB Express "Let's Talk Cine" free Zoom program. Info here: https://bit.ly/NAB2020LTC. Just click on the card and sign up using the blue zoom link below the session title and description. Get your questions ready!
  20. Wednesday, May 13, 1:00 PM, PDT - Join DP's Ben Kutchins and Armando Salas, director/camera operator Ben Semanoff and art director David Bomba, ADG, in a live conversation about the Netflix series “Ozark” and learn how they evolved the show's dark, picturesque look in season three. Full Let's Talk Cine/NAB Express program here: https://bit.ly/NAB2020LTC. Click the session card and register using the blue Zoom link below the session description and time. David Geffner, ICG Magazine executive editor, is moderating.
  21. I have 2 Alexa Mini packages 1st Camera Alexa Mini Asking $44,000.00 Hours 1826 Comes with ALEXA Mini 4:3 License Key ALEXA Mini ARRIRAW License Key ARRI Look Library License Key Mini Viewfinder MVF-1 k2.0005861 Viewfinder Extension Bracket Arri K2.74000.0-VEB3 Mini Side Bracket MSB-1 k2.0006348 MSB-1 Arri Center Camera Handle k2.73002.1-cch-2 Arri Mini adptr plate k2.0006347 Arri Mini Side Bracket MSB-1 k2.0006348 Arri CSP-1 Shoulder Pad k2.0006807 Arri BPA-4 Bridge Plate k2.0006352 Wooden Camera A-box 5-Cards 2nd pkg. Alexa Mini Asking $46,000.00 Arri Mini VF k2.0005861 Hours 1195 Comes with Arri Viewfinder Extension Bracket 2-Arri Mini Adapter Plate MP-1 2-K2.0006334 Arri Center Camera Handle k2.73002-CCH-2 Arri Mini Side Bracket MSB-1 k2.0006348 Arri MAP 2Adapter Plate with Rod Support k2.0006347 Wooden Camera Bebop ALEXA Mini 4:3 License Key ALEXA Mini ARRIRAW License Key ARRI Look Library License Key
  22. WARNING: MATURE CONTENT. Speed Date is a black comedy about Jack and Natalie who approach their allocated time together with different mindsets. What could go wrong? [Best with Headphones] Shot on a Blackmagic Micro Cinema Camera + Sigma 18-35mm Lens.
  23. Hello everyone! I would love to get some opinions on the following. Let’s say you’re shooting a narrative, a 10 page dialogue scene over the course of 2 days. This scene takes place in one location, with blocking all in one vicinity. Would you rather A) Shoot 5 pages/day, jumping around to all of your camera/light setups for those 5, or B) Shoot 10 pages/day, shooting out half of your setups like wide, two shot, etc. Theres interesting pros and cons to both; as a DP I jump for the 10 page idea so I can be efficient with setups and time, yet a director might see benefit performance And continuity wise for the 5 page option. Worked on a feature recently where this problem arose, and would love to hear everyone’s opinions and logic.
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