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Showing results for tags 'Cinematography'.
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I live in Australia where there isn't a lot of film work, so having a film education would make you more employable. I want to be a cinematographer, but there are no cinematography courses so I thought that if I studied a Photography degree, these skills could be transferable? What do you think? (I don't want to study an overall film degree because you must be a writer and I am not)! I've attaches a photo of some of the degree units.
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Shot on Canon 5DIII , 24-70 2.8L and 135 2L. Mostly natural/practical for key with subtle bounce for fill/eye pop I appreciate your constructive criticism on composition and movement as it helps me grow in this art. Blessings, hope you enjoy. Glenn "Heebz" Stephen
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LOS ANGELES (October 21, 2015) – The deadline to submit entries for consideration in the American Society of Cinematographers (ASC) annual television competition is November 2 by noon (PST). The two award categories are (1) Television Movie, Miniseries or Pilot, and (2) an Episode of a Regular Series. Nominees will be named in November, and winners announced at the awards gala on February 14, 2016, at the Hyatt Regency Century City. To qualify for the ASC TV awards, shows must have a premiere broadcast date in the United States between November 1, 2014, and October 31, 2015. Entry forms can be downloaded from the ASC website. Last year’s winners were Jonathan Freeman, ASC for the “Golden Days for Boys and Girls” episode of BOARDWALK EMPIRE, and John Lindley, ASC for the for the MANHATTAN pilot. Chartered in January of 1919, the ASC is defined by their reputation of excellence in advancing the art of visual storytelling. Currently, the ASC has more than 360 active members and 200-plus associate members, all from various sectors of the industry that support the skilled art and craft of filmmaking. Membership and associate membership is achieved through invitation only. For additional information about the ASC, visit www.theasc.com, or join American Cinematographer on Facebook and Twitter (@AmericanCine). -
Hey guys and gals, About two years ago, my friend and I decided to raise money and try our hands at co-writing, directing, and shooting a short film. This is the result. I am a burgeoning cinematographer, I would love to know what you fine folk think. We shot on a Sony F-3 to AJA Ki Pro Quad in 4:4:4. We had some basic LUTs on set, mostly contrast curves. I had budgeted for Ultra Primes, but as it always goes, some funding fell out and we ended up using CP.2's. Thank you for taking the time!
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I am playing around with anamorphic adapters, and obviously am limited by what sort of taking lenses I can use. I wanted to use a Zeiss 35mm but found it vignetted very slightly, so I moved up to a 50mm. This is on a GH4 with a Speedbooster, so fairly fairly close to simulating a Super35 sensor. Also shooting 4:3. For Super 35, ~35mm-ish seems like a standard for a "normal" fov on spherical and 50mm seems a bit tight, better for close-ups (imo). But since the 2X anamorphic stretches the horizontal focal length, I am a little unsure of what should be a go-to focal length for anamorphic. I myself usually compose based on the vertical size of the frame, which doesn't change, but obviously I wouldn't want so much more negative horizontal space so I'd probably move backwards to compensate. I don't have many other great primes that will take the anamorphic adapter, so I am trying to avoid too much trial and error by seeing what others think. -
Hello! I'm student in film production and I have to analyse deeply a scene of In te Mood for Love, the one where the 2 protagonists go down the stairs ( starting around 14:43). I need all the technical information possible: camera, lens, diffusion, frame rate etc. but mostly on the lighting!!!! If anyone can help, I would really appreciate!! Thanks a lot!! VC
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6 months old 1x AstroDesign Electronic Colour Viewfinder 2x 1TB Vision Research CineMags 1x CineStation Mag Reader 240v Power Supply 1x Travel Case Email For Pricing : sales@broadcastsolutions.com
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Hey All, I shot a short film on Canon C300 but the opening and closing of my film takes place on skype. I would like to do split screen and capture the feel of skype without having to actually use it with 3rd party plugins because I don't want to end up having to deal with weird frame rates and what have you. Does anyone here have any ideas of how they would shoot this? GoPros? Fish eye lens on a DSLR? I'm looking for technical as well as creative advice. Thanks!
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Hello Everyone, I am a T.A. in a cinematography class at Arizona State and I convinced my teacher to do a workshop with a 16mm camera. Being how new our Film School is we have no film cameras, only digital, so we are renting an SRIII to show the class and possibly shoot some stuff. My professor and I wanted to show everyone what it's like to shoot on film and how careful you have to be with exposure, how to use light meters, etc., and implementing these structures for when you shoot on digital. Rather than the typical status quo of students just blindly shooting and guessing on exposure. I was reaching out to the cinematography community for help, if anyone has any short ends or exposed super 16 film we could use to help the students with (show how to load the magazines, etc.) that would be amazing. Kind of a long shot to ask on here but I thought it wouldn't hurt. Thanks, Danner Gardner -
I didn't know where to write this post so I suppose that it fits in "Cinematographers" I searched on cinematography.com to see if it had been posted already but it doesn't seem to be on the records so here we go. It is a really good recreation of Hopper's paintings with live objects, such as human people and furniture :) Shirley - Visions of Reality http://bieff.ro/2013/film/83 Official Website http://www.shirley-visions-of-reality.com Trailer http://www.shirley-visions-of-reality.com/#trailer Shirley - Visions of Reality (Making Of) Hope you enjoy it, I did! :)
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Greetings People, My first post, had a search and can't find anything specific on the subject (please correct me if I'm wrong) The 'TV Movie Look' I first heard this on an episode of Entourage where a Director fires his cinematographer due to making his film look like a TV Movie. After hearing this I looked into it and you can just tell now when a film, or series have that 'look' So my question really is, what makes it look like that, and how in the hell can you really avoid it lol A great example is anything by 'The Asylum' lol -
so theres a construction site i want to film an action scene at. prop guns, stunts, that sort of thing. the site is closed and theres not much machinery there, its just old walls and dirt really. do i need to get a permit or permission to shoot there? if so, who do i talk to? (since the branch is closed)
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pre-owned, in perfect working condition with no signs of wear. comes with original case.
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LOS ANGELES (August 17, 2015) - In support of their mission to advance the art of cinematography by inspiring and educating the next generation of filmmakers, the American Society of Cinematographers (ASC) has announced the nominees for the 2015 ASC Gordon Willis Student Heritage Awards. A blue-ribbon panel of ASC members judged the entries and selected 13 students from a talented pool of filmmakers with exceptional abilities in cinematography. The students represent 11 different U.S. film schools; winners will be revealed on September 26. The finalists are as follows. In the Undergraduate category: Nicolas Aguilar Ketchum of Chapman University for RUN Garrett Nicholson of Ithaca College for NIGHTFIRE Sten Olson of Chapman University for DARKSTAR Casey Schendel of Cal State University Northridge (CSUN) for THE DEATH OF COLM CANTER Oren Soffer of New York University for RESERVATIONS West Webb from the University of North Carolina School of the Arts for NO TIP In the Graduate category: Justin Alpern of Chapman University for STRAW DOLLS Paul Cannon of the University of California Los Angeles (UCLA) for AWAKE John Wakayanna Carey of Columbia University School of the Arts for TWO SISTERS Steven Holloway of American University for THE DEFEAT x3 Nico Navia from the American Film Institute (AFI) for AGAINST NIGHT Justin Perkinson of UCLA for RANDOM STOP In the Documentary category, the judges nominated only one finalist, making Rob Scribner of Full Sail the winner for WARBIRD PILOT: BEHIND THE VISOR. The ASC Student Heritage Awards are renamed annually in memory of an extraordinary ASC member. This year it is dedicated to Gordon Willis, the legendary cinematographer of THE GODFATHER trilogy. Over the course of a superlative career, Gordon (who passed away in May of 2014) was awarded an honorary Oscar® in 2009 and also received Academy Award® nominations for his work on ZELIG and THE GODFATHER: PART III. Some of his other ground breaking credits include KLUTE, THE PAPER CHASE, THE PARALLAX VIEW, THE DROWNING POOL, ALL THE PRESIDENT'S MEN, ANNIE HALL, MANHATTAN, STARDUST MEMORIES, PENNIES FROM HEAVEN, BROADWAY DANNY ROSE, PRESUMED INNOCENT and MALICE. He received the ASC Lifetime Achievement Award in 1995. "There can be no doubt that Gordon Willis was one of the two or three greatest cinematographers who ever lived," said ASC President Richard Crudo. "His bold inventiveness changed the way movies looked, and cut the path for everything we've come to accept as outstanding cinematography. These students are only beginning their dance with the art form; there is no better example for them to study as they strive to reach the next level." For additional information about the ASC, visit www.theasc.com, or join American Cinematographer on Facebook.
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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.
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Hello all, So I'm messing around with shots for a film of mine, and I have a scene where a lot is revealed, emotionally (to be simple: a man shoots his brother for the crime this brother has committed). Anyways, my question is: what functions do a pull-back have in a scene? I have it storyboarded to where we have a push-in on the dead body of the brother and then we cut to a pull-back from the shooter (both are iso shots). Any suggestions/comments for this function?
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Hello all. I'm a newbie here and this is my team's story: We love cars, we film cars... that's what we do... That's not just a showreel. That's how we live and breathe cars. That's why we traveled to half away across Europe, looking for thrilling automotive stories behind corporate projects or passionate individuals. Thousands of km, countless flights, more than a dozen European countries and piles of HD media fused to an action packed timeline . This is Manos, Kostas and Orfeas; we each created our own personal path that led us to the three opposite edges of a continent, but these paths are crossing every time we feel the need to tell a new story, to create a new project. This is our story combined, this is Kinisis.... Hope you like it!
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Hello all, I am Ivan from switzerland, this is my first post on the forum. I've been folowing for quite some time now and I am always eager to recieve constructive critic on my work so do not esitate to comment or give your impression, it will be much appreciated. Sharing my latest work, kind of "memory scape" on the city of Venice. One man crew. Shot on Dragon with Lovely LEICA-R Lenses, tripod, slider or hand-held. Thanks for watching :-) http://vimeo.com/129346620 -
Hi, I’m looking for a car cinematography specialized DP for a high end SPEC commercial. Green screen experience is required as the featured car will be driven on a large green screen cyclorama. Although a car specialist, this person must be good at lighting people as well. The shoot will take place on July 25-26 in Los Angeles. Non-Union shoot. Pay negotiated upon experience. Please apply only if you specialize in car cinematography. We need to confirm someone ASAP. If interested, please email a link to your reel/portfolio to crewapplications@mzo.tv Thanks.
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So I'm shooting a short film and it mostly takes place at night on the road inside a car, and I have a very low budget, it's supposed to look like a kind of b horror/grindhouse movie. My inspiration of the lighting is Deathproof by QT, here's a picture and basically I'm looking to light my scene exactly like that, my question is, how can i achieve this cheaply? which lights do you recommend and how do i place them? Thanks
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Here's a short reel of some of the things I shot during my freshman year at Point Park University in Pittsburgh. Enjoy!
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The first of its kind, this workshop on wildlife cinematography is taught by EMMY award winner Robin Cox and Keshav Sishta in conjunction with Field Projects International and Primates Peru in the Amazonian rainforests of Peru. Be one of the first eight applicants to register to receive the early-bird rate ($2400 per person). Enrollment opens: June 8, 2015 at 8 am (Central Standard Time) Unlike any other workshop out there, students will gain exclusive access to expert cinematographers and field biologists at the same time! At the completion of the course, students will enhance their portfolios, gain a blue print for producing nature and research documentaries, technical know-how under challenging field conditions, and a network of colleagues that will help you further your career. Previous film making experience is a bonus but is not a prerequisite for this course. Participants must have a working knowledge of photography, and familiarity with a DSLR camera - no other prior experience is necessary. Details on the course can be found here, and the registration form can be found here. Contact us at admin@primates-peru.org for further questions.
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18/21/25/35/40/50/75/100mm For Details Contact : sales@broadcastsolutions.com[
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Venerable Brand Unveils Lightweight Support Crafted Specifically for Digital Cinema Cameras BURBANK, Calif. (May 27, 2015) - OConnor, a Vitec Group brand and premier provider of fluid heads, tripods and camera accessories for film and television production, has announced the release of its new 2560 Ultimate Fluid Head. The latest addition to the company's successful Ultimate range of fluid heads, the 2560 is ideally suited to the configurations of today's camera set ups. Specifically engineered to support fully accessorized smaller cameras in studio configuration, the lightweight fluid head has the flexibility to be used with many of the film cameras and large-sensor digital offerings available currently available or releasing soon. Crafted for "cine-style" shooting, the new head design delivers cinema standard positioning of controls, including brakes and rosettes, for easy and intuitive use. The 2560 fluid head also includes OConnor's patented sinusoidal counterbalance system for true, accurate balance at any point in the tilt range. In combination with the company's stepless, ultra-smooth pan & tilt fluid drag, the 2560 delivers the control and stability that have been characteristic of OConnor for over 60 years. "Whatever camera configuration our users need to support, whether digital or film, the Ultimate 2560 will accommodate them without compromising on performance," said Steven Turner, Product Manager for OConnor. "Offering many of the same features as our flagship 2575D head, the 2560 provides the quality and reliability synonymous with OConnor in a lighter weight, smaller form factor. Whether you're looking to support an increasing number of accessories, gain more flexibility and mobility in the field, or future-proof your camera support system, the 2560 delivers a perfectly balanced solution for digital cinema shooters." The Ultimate 2560 fluid head is housed in lightweight magnesium, ensuring a best-in-class performance and a superlative power to weight ratio. Weighing less than 18 pounds, the 2560 is capable of supporting camera payloads up to 66 pounds at a 6-inch center of gravity above the platform. In addition, each head comes with a carbon fiber cover for improved stiffness and maximum durability in extreme conditions. "The new 2560 offers the same solid feeling and form factor I'm used to from OConnor, but in a much lighter weight package," says David Mahlmann, SOC, who recently used the 2560 on an indie film shoot. "This makes for faster and easier setups for the camera and grip departments, allowing us to take full advantage of today's lighter weight cameras." As camera technology continues to evolve rapidly, OConnor's newest fluid head is one of several products the company is introducing to meet the shifting needs of cinematographers and operators. "All of OConnor's products are engineered to meet the demands of today's challenging camera work, and now, more than ever, flexibility means everything," added Turner. "The Ultimate 2560, with its high latitude of range and infinite, accurate balance and drag, is the very definition of versatile." The Ultimate 2560 Fluid Head will be available worldwide in June. The suggested list price will be $13,750. For more information, visit OConnor at www.ocon.com.
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WHAT: 2015 Cine Gear Expo ACES Panel WHEN: Saturday, June 6th, 10:15 to 11:30AM WHERE: Sherry Lansing Theater, Paramount Studios DESCRIPTION: After years of research and development, ACES 1.0 has arrived. ACES enables DPs and directors to preserve the on-set creative intent and carry it into dailies, editorial, VFX, the DI and on into archiving. It does this, in large part, by addressing many of the long-standing color management issues facing today’s productions. Hear from hands-on filmmakers and technologists how ACES came into being, why it is important and how it impacts the creative and practical production process. Gain insight into how ACES can help simplify workflows, solve color reproduction issues on a wide range of displays, facilitate the integration of footage from multiple camera models and lenses, and provide a single color management standard. PANELISTS: Curtis Clark, ASC - director of photography; chairman, ASC Technology Committee; recipient, AMPAS Scientific and Technical Achievement Award (ASC-CDL); recipient, ASC Presidents Award Theo van de Sande, ASC - director of photography Award; nominee, 2014 ASC Award (“Deliverance Creek”) Bobby Maruvada - digital imaging technician and colorist John Daro - digital intermediate colorist, FotoKem (“Deliverence Creek”) Ray Feeney - ACES Project Committee co-chair, AMPAS MODERATOR: Mark Weingartner – VFX director of photography; chair, ICG National Training Committee; member, ASC Technology Committee Presented by ICG and ASC Technology Committee, in cooperation with the Academy of Motion Picture Arts & Sciences
