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I lit a music video last week, and one of the setups called for lighting as if it was 'twilight'. I knew just using CTB to get the blue light of twilight wouldn't work, so I did some research and ended up buying some Lee Filters 161 Slate Blue. I used Slate Blue on some HMIs, and softened and diffused the light as much as possible to get the soft blue light that you see just after sunset. I was quite happy with the outcome, but it wasn't really the kind of blue I was after. I was wondering if anyone else has had experience using special colour gels to light for twilight? What kind of setups did you use? With the power of grading nowadays, is it easier to just fix the colour in post? I guess it's an interesting debate, but I do like to get what I want in camera, so that minimal things have to be changed in post. More about the shoot on my blog.

This is from a project of mine about Australian films called AnyCameraWillDo.com I though you Guys n Gals might be interested and I'm keen to spread a positive message about film making :) DOP Bonnie Elliott on These Final Hours: The heavy sun beats down, the sky burns a deep orange and the heat sears the landscape. So bright is the hot light that the only reprieve is the dark sweaty shadows of indoors. This is what Bonnie Elliott’s apocalypse looks like, a harsh beautiful end to the world in Australian feature film These Final Hours. AnyCameraWillDo sat down with DOP Bonnie Elliott to talk about constructing the look of the apocalypse in Australian feature film These Final Hours. Bonnie sites her start at UTS where she had the opportunity to experiment on many short films with a Bolex film camera as the beginning of the look used in the film. The Bolex she used at UTS had a filter slot, which allowed her to cut out small gel filters from a swatch book and put them behind the lens. It was this process along with working with the very unforgiving work print that led to the range of mistakes, pleasant surprises and plethora of learning experience that built her knowledge that she brought to bear on These Final Hour. These Final Hours Trailer: Director Zak Hilditch had a clear vision for the film He wanted to start the film yellow and move through orange and finally finish with a red hue. This visual direction led Bonnie to do a lot of experimentation with glass filters in front of the lens including filters with names such as ‘Apricot’, ‘Tabaco’ and ‘Antique Suede’. These days with the option to do so much in the grading suite it’s unusual to shoot so much of the film with such an effect in camera. But if the film is going to be pushed in that direction in the grade why not do it in camera and save time? Not only does it save time, but creating the look in camera has a very different effect and a very different feel Bonnie says. The DOP describes the way the light is affected by the Apricot filter with the color, the light and the smoke as something that you just cant achieve with a grade. Bonnie Elliott on These Final Hours: Vimeo: Perth proved to be a harsh place to shoot with very little cloud cover. This provided the These Final Hours crew with a consistent light situation but required the DOP to embracing the Australian sun and use the harsh, sharp midday light to help form the look of the film and tell the story. To extend this look to the indoors Bonnie used large light sources, lighting the indoors from outside giving a strong sense of heat permeating the darker space. These Final Hours was shot over 5 weeks, making use of extensive preplanning and preparation. Although there was certainly a space for adlibbing the film was executed closely to the original planned look. The film is about the end of the world through the humanity of the people involved not about special effects. It is a complicated film about how people react to their own mortality. To this end the visual decisions, though unusual, really were right choice for the story. Bonnie Elliot certainly live up to her own advice “Don’t be afaird to be bold”. Link to the article: http://anycamerawilldo.com/bonnie_elliott/ Feel free to let me know if this is posted in the wrong place or is not really the right stuff to be posting on this forum. I'm new here, just wanting to share our wee project and thought you Guys n Gals migh like it. Nat J

Take a look at this short film that featured only children and was done with no dialogue whatsoever http://redd.it/34bi0f

http://redd.it/34bi0f

Gear Helps Camera Department's Smooth Production NEW YORK (April 29, 2015) - Cinematographers Eric Moynier and Michael Caracciolo shoot NBC's hit series, The Blacklist, with support from Anton/Bauer batteries, Litepanels fixtures, and OConnor fluid heads. Mostly shot on location - including Manhattan, the outer boroughs, Long Island, New York's Rockland and Westchester counties and the stages of Chelsea Piers - the show's dramatic storytelling is a perfect match for the tools. The Blacklist stars James Spader as ex-government agent Raymond "Red" Reddington, one of the FBI's Most Wanted fugitives, who comes to work with the FBI to identify a "blacklist" of politicians, mobsters, spies and international terrorists. Moynier and Caracciolo are joined on the set by A camera operator Tom Weston, B camera operator Saade Mustafa, and a third rotating operator. They deploy three Sony PMW-F55 CineAlta 4K digital cinema cameras on an average day, but as many as six cameras are sometimes rolling. They're outfitted with Panavision Primo prime lenses and zooms, and Angenieux Optimo zooms. Moynier estimates that OConnor 2575 fluid heads, rented from Panavision New York, are used 80 to 90 percent of the time. "OConnor has always been my workhorse; it's my go-to fluid head," says Moynier, who has been a fan for the last 20 years. "I love the feel of the 2575. It's like I'm holding the story in my hands. It's not a mechanical device - more of an emotional way to operate. Operating with a fluid head is very different from wheels. It's more personal, more organic. I operate with very high tensions so when I stop pushing, the camera stops in its tracks." Weston is also a longtime 2575 user. "It's a terrific all-around head that's been reliable for years, and a standard of the industry," he adds. "The 2575 is robust but smooth and responds well to a soft touch. It has a great counterbalance, and I can point it straight up or straight down." He also gives kudos to the "strong locking system," a must when cameras are loaded with accessories. "When I put an 11:1 Panavision lens on the lighter Sony F55, then load it up with Preston (camera and lens control), MDR (cable), batteries, two monitors and an eyepiece, it becomes a very heavy and long camera. But if I want to do an extreme tilt, I know the head's locking system will hold it all in place." Weston notes that the 2575 even performs well in the arctic temperatures that New York City experienced this winter. "We shot in 15-degree (Fahrenheit) weather and the lenses can become difficult to focus and zoom sometimes. But we've never had a problem with the OConnor fluid heads," he says. Litepanels 1x1 panels are used extensively on the series, too. "They're small, slim and unobtrusive, so they can be hidden and tucked away on sets," says Moynier. "And you can adjust their intensity." "I love them and use them every day," says gaffer Michael Price. "They're quick to hang as backlights, with no cables; I can add them as last-minute key lights. I even use them off camera to light a dark staircase, or I'll put one on a stand when an actor needs a little work light to study the script." Price likes how he can "change the color temperature of the Litepanels from tungsten to daylight simply by spinning the dial. And they're fully dimmable, too." He powers the Litepanels, rented from ARRI New York, with six Anton/Bauer DIONIC HC batteries, which he values for their long charge life. "We shoot a lot of long scenes, and I never have to change batteries," he says. Anton/Bauer lithium-ion batteries also power the F55 cameras. "We use the DIONIC HCs with real-time display as a source of power in conjunction with our Panavision block batteries," says Hollis Meminger, A camera 1st assistant on the show. "They are extremely useful and carry a decent weight distribution when we are handheld or going extremely low profile inside car rigs, or for helicopter and airplane sequences." He adds that the Anton/Bauer batteries are used "on everything from our monitors to wireless video systems, as well as with our camera stabilization system. The batteries have proven to be extremely reliable and very useful for such a high-impact show as The Blacklist." The popular crime drama's second season is currently airing, and NBC has renewed The Blacklist for a third year. # [Editor's Note: Photos available for download here: https://app.box.com/s/yfei1tjke4dj0xk6y23nf8ugkf6xj736]

Dear Cinematography Community, Was hoping to get some good feedback on the style of shooting and feedback on the cuts. Please let me know your thoughts, as I am trying to pitch this new concept to the general public. I shot and cut this for a motion picture composer and want to make sure it has a cinematic feel: Thank you, Shaun Khan Aim Higher http://www.fd1.com

Hey! I'm Marco TOMA Tomaselli, 25yo italian up and coming cinematographer now base in Los Angeles. I came here without having connections so I had to start from everybody worst enemy.....gigs from Craiglists. The type of project is still not what I'd like it to be and I need to improve myself. Here you have my reel and any constructive suggestions are gold for me: http://vimeo.com/114315647 Thanks a lot, Toma. Photographer & Cinematographer. imdb: imdb.com/name/nm5064843 web: www.iamTOMA.com

Hi, I'm considering some of the courses of this institute in Los Angeles (http://www.globalcinematography.com/). Is there someone who attend it or hear about it? I'm interested particularly in the "Cinematography for Indie/Small budget films" course but I don't know if it's worth it and if there are pre-required skills, so any opinion is welcome. Thanks!

BURY ST EDMUNDS, UK (April 10, 2015) - Vitec Videocom has made an exclusive sales and distribution agreement with German company FoMa Systems to market and sell their Maxima SMX gimbals to the global broadcast and cinematography markets. The Maxima SMX gimbals add a high-end active stabilization solution to Videocom's existing range of camera supports and the Artemis camera stabilizer systems. The first initial product in the range will be the Maxima SMX30 which is ideal for use with full size digital cine cameras with prime or compact zoom lenses and 2/3" sensor broadcast cameras. Matt Danilowitz, CEO of Vitec Videocom says: "The innovation behind the FoMa product and their diverse professional expertise is outstanding. We are pleased to be involved in a process of developing new, groundbreaking products that will enable our creative customers to achieve shots that have never been possible before. The SMX30 is an excellent addition to our camera supports product range and we are delighted to have agreed this partnership." Rainer Maertin, CEO of FoMa says: "The distribution agreement with Vitec Videocom provides our unique gimbal technology a global access to the film and broadcast market. It also gives us the opportunity to drive our technology even further, in conjunction with Videocom's R&D efforts. We've already seen the first exciting outcome of this new partnership with the integration of our gimbals and the Artemis stabilizer system." The Maxima SMX30 will be available through Vitec Videocom from the beginning of June 2015, listing at $17,950 / € 15.850.

NAB 2015, Booth #C6025 Universal Hand-Held Support Rig Offers Flexibility Needed for Accessorized Digital Cinematography BURBANK, Calif. (April 6, 2015) - OConnor, a Vitec Group brand and premier provider of fluid heads, tripods and camera accessories for film and television production, will unveil its new O-Rig 15mm Rod Support System at NAB 2015. The versatile, hand-held support rig is perfectly suited to the a la carte configurations of today's accessorized digital cinematography. The O-Rig is designed to work with any camera/lens combination in 15mm LWS (Light Weight Support) configuration, including the latest offerings from Sony, Canon, Nikon, ARRI, AJA, JVC, Panasonic, Vision Research and RED. OConnor will showcase the newest addition to its award-winning lineup of camera supports and accessories at their NAB exhibit (Booth #C6025) in Las Vegas, which runs April 13-16. OConnor's O-Rig is camera and lens agnostic, providing cinematographers maximum flexibility. Its new, proprietary universal baseplate enables quick and easy camera and lens changes. A height adaptor offers cover for all camera bodies, providing rotation of wide-angle filters, and increasing the lens coverage of OConnor's O-Focus follow focus unit. Uniquely crafted to deliver superior ergonomic performance, the O-Rig also allows users to effortlessly move from shoulder mount to tripod and back again. "Whether our users need to bolt an increasing amount of equipment to their camera or they're looking to maximize their rig for as many configurations as possible, the O-Rig can support them," said Steven Turner, Product Manager for OConnor. "All of OConnor's products are engineered to meet the demands of today's challenging camera work, and now, more than ever, flexibility is key. We believe cinematographers, operators, and rental facilities will be pleased to have such a robust and durable solution from a trusted brand." The O-Rig system is housed in a robust Storm Case, fitted with custom-cut, high-density foam. Each kit includes: an award-winning O-Grips handgrip system; an infinitely adjustable offset adaptor, which allows users to easily reposition camera viewfinders and provides comfort adjustments for shoulder pads; and a shoulder pad with hand-stitched leather construction and aluminum detailing, giving versatile positioning of rods through pad for optimizing counterweight, camera balancing, and body ergonomics. Individual elements within the O-Rig kit will also be available, and are compatible with other 15mm LWS accessories. While the new O-Rig system delivers robust quality and ease of use, it was also designed with an eye towards the future. "The O-Rig is the definition of future proofing," added Turner. "As camera technology continues to evolve rapidly, cinematographers and operators cannot be locked in. They need adaptable solutions that allow them to change and grow, and the O-Rig delivers that versatility without comprising performance." The O-Rig 15mm Rod Support System will be available worldwide in May. Customized shoulder rig packages, designed to support specific cameras, can be assembled upon request. For more information, visit OConnor at www.ocon.com.

WASHINGTON, D.C. -- Academy Award nominee and “American Sniper” cinematographer Tom Stern will appear in a conversation at NAB Show, which takes place in Las Vegas in April. The session, “Heroes, Legends and ‘American Sniper’: A Conversation With Tom Stern” is the Keynote Presentation of the Creative Master Series (CMS) and is produced in partnership with the International Cinematographers Guild (ICG) Local 600. It is scheduled for Tuesday, April 14, 1:45 – 2:45 p.m. This one-on-one conversation will explore the career of Oscar nominee Tom Stern, whose close association with Clint Eastwood has yielded such critically acclaimed hits as “Mystic River,” “Million Dollar Baby” and “Flags of Our Fathers.” Attendees will learn about Stern’s history as a gaffer, his on-set creative process, his insights into working with crews worldwide, and his experiences using digital capture to visualize 2014’s highest grossing film, “American Sniper.” Stern joins Creative Master Series participants Robert Yeoman, ASC, (Oscar nominee and cinematographer of “The Grand Budapest Hotel”); Sandra Adair (editor of and Oscar nominee for “Boyhood”); animators and VFX artists of the smash hit video game “Destiny;” and music and SFX craftspeople from various projects including “Gone Girl” and the “Call of Duty” franchise, who will appear as part of a session discussing music selection and production. “Tom Stern is a consummate craftsman, one who has built an incredible body of work over the course of his career, from “Flags of our Fathers” to “The Hunger Games,” said Chris Brown, NAB executive vice president, Conventions and Business Operations. “His vast base of knowledge will be of enormous value to our attendees, and I join our partners at ICG in welcoming Mr. Stern to the lineup at the 2015 NAB Show.” The Creative Master Series at NAB Show celebrates the craftsmanship of content creation and attracts cinematographers, film and VFX editors, production management for film, TV and online, content creators, content owners, programmers, and aggregators. The 3-day CMS program provides an insiders’ perspective from directors, show runners, creative crew, studio and network production executives as they share their insights on award-winning television and film projects, as well as commercials, gaming properties, and live event productions. Additional conference partners for the Creative Master Series include American Cinema Editors (ACE), American Society of Cinematographers (ASC), Entertainment Industries Council (EIC), Motion Picture Sound Editors (MPSE), New York Festivals, Production Music Association (PMA), and the Visual Effects Society (VES). “Heroes, Legends and ‘American Sniper’: A Conversation with Tom Stern, ASC, AFC” will take place Tuesday, April 14, 1:45-2:45 p.m. in South Hall Room 220 of the Las Vegas Convention Center. To attend this and other sessions, view registration packages. Tweet this: #AmericanSniper cinematographer Tom Stern joins @NABShow lineup as part of Creative Master Series, April 14: http://ctt.ec/9vc3f+ About NAB Show NAB Show, held April 11-16, 2015 in Las Vegas, is the world's largest electronic media show covering the creation, management and delivery of content across all platforms. With more than 98,000 attendees from 150 countries and 1,600+ exhibitors, NAB Show is the ultimate marketplace for digital media and entertainment. From creation to consumption, across multiple platforms and countless nationalities, NAB Show is home to the solutions that transcend traditional broadcasting and embrace content delivery to new screens in new ways. For complete details, visit www.nabshow.com. About NAB The National Association of Broadcasters is the premier advocacy association for America's broadcasters. NAB advances radio and television interests in legislative, regulatory and public affairs. Through advocacy, education and innovation, NAB enables broadcasters to best serve their communities, strengthen their businesses and seize new opportunities in the digital age. Learn more at www.nab.org.

WASHINGTON, D.C. -- Academy Award nominee and “American Sniper” cinematographer Tom Stern will appear in a conversation at NAB Show, which takes place in Las Vegas in April. The session, “Heroes, Legends and ‘American Sniper’: A Conversation With Tom Stern” is the Keynote Presentation of the Creative Master Series (CMS) and is produced in partnership with the International Cinematographers Guild (ICG) Local 600. It is scheduled for Tuesday, April 14, 1:45 – 2:45 p.m. This one-on-one conversation will explore the career of Oscar nominee Tom Stern, whose close association with Clint Eastwood has yielded such critically acclaimed hits as “Mystic River,” “Million Dollar Baby” and “Flags of Our Fathers.” Attendees will learn about Stern’s history as a gaffer, his on-set creative process, his insights into working with crews worldwide, and his experiences using digital capture to visualize 2014’s highest grossing film, “American Sniper.” Stern joins Creative Master Series participants Robert Yeoman, ASC, (Oscar nominee and cinematographer of “The Grand Budapest Hotel”); Sandra Adair (editor of and Oscar nominee for “Boyhood”); animators and VFX artists of the smash hit video game “Destiny;” and music and SFX craftspeople from various projects including “Gone Girl” and the “Call of Duty” franchise, who will appear as part of a session discussing music selection and production. “Tom Stern is a consummate craftsman, one who has built an incredible body of work over the course of his career, from “Flags of our Fathers” to “The Hunger Games,” said Chris Brown, NAB executive vice president, Conventions and Business Operations. “His vast base of knowledge will be of enormous value to our attendees, and I join our partners at ICG in welcoming Mr. Stern to the lineup at the 2015 NAB Show.” The Creative Master Series at NAB Show celebrates the craftsmanship of content creation and attracts cinematographers, film and VFX editors, production management for film, TV and online, content creators, content owners, programmers, and aggregators. The 3-day CMS program provides an insiders’ perspective from directors, show runners, creative crew, studio and network production executives as they share their insights on award-winning television and film projects, as well as commercials, gaming properties, and live event productions. Additional conference partners for the Creative Master Series include American Cinema Editors (ACE), American Society of Cinematographers (ASC), Entertainment Industries Council (EIC), Motion Picture Sound Editors (MPSE), New York Festivals, Production Music Association (PMA), and the Visual Effects Society (VES). “Heroes, Legends and ‘American Sniper’: A Conversation with Tom Stern, ASC, AFC” will take place Tuesday, April 14, 1:45-2:45 p.m. in South Hall Room 220 of the Las Vegas Convention Center. To attend this and other sessions, view registration packages. Tweet this: #AmericanSniper cinematographer Tom Stern joins @NABShow lineup as part of Creative Master Series, April 14: http://ctt.ec/9vc3f+ About NAB Show NAB Show, held April 11-16, 2015 in Las Vegas, is the world's largest electronic media show covering the creation, management and delivery of content across all platforms. With more than 98,000 attendees from 150 countries and 1,600+ exhibitors, NAB Show is the ultimate marketplace for digital media and entertainment. From creation to consumption, across multiple platforms and countless nationalities, NAB Show is home to the solutions that transcend traditional broadcasting and embrace content delivery to new screens in new ways. For complete details, visit www.nabshow.com. About NAB The National Association of Broadcasters is the premier advocacy association for America's broadcasters. NAB advances radio and television interests in legislative, regulatory and public affairs. Through advocacy, education and innovation, NAB enables broadcasters to best serve their communities, strengthen their businesses and seize new opportunities in the digital age. Learn more at www.nab.org.

WASHINGTON, D.C. -- Academy Award nominee and “American Sniper” cinematographer Tom Stern will appear in a conversation at NAB Show, which takes place in Las Vegas in April. The session, “Heroes, Legends and ‘American Sniper’: A Conversation With Tom Stern” is the Keynote Presentation of the Creative Master Series (CMS) and is produced in partnership with the International Cinematographers Guild (ICG) Local 600. It is scheduled for Tuesday, April 14, 1:45 – 2:45 p.m. This one-on-one conversation will explore the career of Oscar nominee Tom Stern, whose close association with Clint Eastwood has yielded such critically acclaimed hits as “Mystic River,” “Million Dollar Baby” and “Flags of Our Fathers.” Attendees will learn about Stern’s history as a gaffer, his on-set creative process, his insights into working with crews worldwide, and his experiences using digital capture to visualize 2014’s highest grossing film, “American Sniper.” Stern joins Creative Master Series participants Robert Yeoman, ASC, (Oscar nominee and cinematographer of “The Grand Budapest Hotel”); Sandra Adair (editor of and Oscar nominee for “Boyhood”); animators and VFX artists of the smash hit video game “Destiny;” and music and SFX craftspeople from various projects including “Gone Girl” and the “Call of Duty” franchise, who will appear as part of a session discussing music selection and production. “Tom Stern is a consummate craftsman, one who has built an incredible body of work over the course of his career, from “Flags of our Fathers” to “The Hunger Games,” said Chris Brown, NAB executive vice president, Conventions and Business Operations. “His vast base of knowledge will be of enormous value to our attendees, and I join our partners at ICG in welcoming Mr. Stern to the lineup at the 2015 NAB Show.” The Creative Master Series at NAB Show celebrates the craftsmanship of content creation and attracts cinematographers, film and VFX editors, production management for film, TV and online, content creators, content owners, programmers, and aggregators. The 3-day CMS program provides an insiders’ perspective from directors, show runners, creative crew, studio and network production executives as they share their insights on award-winning television and film projects, as well as commercials, gaming properties, and live event productions. Additional conference partners for the Creative Master Series include American Cinema Editors (ACE), American Society of Cinematographers (ASC), Entertainment Industries Council (EIC), Motion Picture Sound Editors (MPSE), New York Festivals, Production Music Association (PMA), and the Visual Effects Society (VES). “Heroes, Legends and ‘American Sniper’: A Conversation with Tom Stern, ASC, AFC” will take place Tuesday, April 14, 1:45-2:45 p.m. in South Hall Room 220 of the Las Vegas Convention Center. To attend this and other sessions, view registration packages. Tweet this: #AmericanSniper cinematographer Tom Stern joins @NABShow lineup as part of Creative Master Series, April 14: http://ctt.ec/9vc3f+ About NAB Show NAB Show, held April 11-16, 2015 in Las Vegas, is the world's largest electronic media show covering the creation, management and delivery of content across all platforms. With more than 98,000 attendees from 150 countries and 1,600+ exhibitors, NAB Show is the ultimate marketplace for digital media and entertainment. From creation to consumption, across multiple platforms and countless nationalities, NAB Show is home to the solutions that transcend traditional broadcasting and embrace content delivery to new screens in new ways. For complete details, visit www.nabshow.com. About NAB The National Association of Broadcasters is the premier advocacy association for America's broadcasters. NAB advances radio and television interests in legislative, regulatory and public affairs. Through advocacy, education and innovation, NAB enables broadcasters to best serve their communities, strengthen their businesses and seize new opportunities in the digital age. Learn more at www.nab.org.

Hi all, Hope you are all well. It would be great to get some feedback on my reel. Any comments are welcome. Cinematography Reel https://vimeo.com/115711277 Kind Regards,

Can bolex be converted to super 16? If so, which models? Also, can bolexes be outfitted for crystal sync/ electric motor? Just curious, thanks.

Hi everyone, got one for you! I'm challenging myself with wanting to achieve a very difficult shot... I'll explain it. I'm directing and shooting a music video for a friend and I had the vision to start it with a close up of a girl standing. The camera then will start rotating around her until it flies off the sky looking at the valley. It should be all in one shot with not digital "stitches". Now I thought to try asking the drone people if it's possible and they say that can only do a small curve around before flying off. They suggested a technocrane instead which is out of budget of course and anyway won't fly over the valley. The "B" solution to achieve this shot is to use a steadycam around the girl and then stitch a shot from the girl to the sky. Probably the stitch won't be even be visible with the nowadays post technology but it should be tested anyway. I believe that it would be a breath breaking shot and a great start of the video if all done naturally in one shot. Any ideas suggestions? Cheers!

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

Hi everyone, Would just like to get information about the UniQoptics Prime kit, Has anyone used them? If so please can you tell me how they perform compared to Zeiss CP.2 primes? I can't find enough information or reviews online about them. Thanks.

I'm from London, 16 years old and female. Ever since I first watched Alfred Hitchcock's 'Psycho', I knew I wanted to be a director. I became obsessed, I watch all of his films around four times each and went through each one, studying the use of his particularly dramatic and iconic instrumental music and the use of his camera angles. I want to be able to write my own screenplays and put a team together to collaborate and put it to life. I've already started writing a few, one of which was a adaption of the novel 'Of Mice and Men', which was used for a stage production. I'm also writing with a friend of mine, a crime avant-garde inspired story, with which we are going to film. However, I know I need direction. I understand that this business is extremely bitterly hard to get into and to make a living, but this is all I want to do with my life. I wanted to ask a few questions: 1.) Is it hard for a female to get noticed in the film industry? I don't mind working in a mostly male dominated industry, I just know that there aren't as many women who film, compared to men. 2.) Camera recommendations and lenses too. I need to find a camera suitable of shooting raw material. 3.) I noticed that a lot of film directors never went to university, they went straight in by doing apprenticeship type work. I would never be able to do that, so I know I need to go to university. What would be a good choice of one in London? 4.) Lighting equipment. I would like to know what types you use. Thank you for reading.

Hey everyone, My name is Keerthi Prabath. I'm from Sri Lanka. I'm very interest in cinematography. So this collection of my cinematography works for the past two years and this is my first showreel. I used DSLR cameras to shoot all of this stuff. I'll hope your advice and comment about my work,.. Thank you

Hey everyone! It's my first time posting here! My name is Marc and I'm an aspiring Cinematographer! I came here to post my work (Demo Reel) and It would be awesome to hear some opinions, feedbacks, critiques etc. All of the footage were shot with DSLRs. I'm serious about this stuff so I need to get better. I appreciate it! I'm also posting still images of what I recently shot! I guess you can just critique on the lighting for those ones. Do I have what it takes? Or should I just go and pursue other areas of film or in general? thanks!! Demo Reel: http://tinypic.com/r/sdzos1/8 http://tinypic.com/r/1g3ibp/8 http://tinypic.com/r/2chl3rd/8 Sincerely, Marc

Cinematographer - Oleg Zayanov (Los Angeles, California) Born in Russia, Moscow WEB - vimeo.com/olegzayanov Canon 5Dmarkii + 24-105L

LOS ANGELES, Jan. 7, 2015 - Five directors of photography will vie for the American Society of Cinematographers (ASC) Award in the theatrical motion picture category at the organization's 29th Outstanding Achievement Awards ceremony. The nominees are: Roger Deakins, ASC, BSC for Unbroken Óscar Faura for The Imitation Game Emmanuel Lubezki, ASC, AMC for Birdman or (The Unexpected Virtue of Ignorance) Dick Pope, BSC for Mr. Turner Robert D. Yeoman, ASC for The Grand Budapest Hotel The winner will be revealed on February 15 during the annual ASC Awards gala at the Hyatt Regency Century Plaza in Los Angeles. "These nominees represent a fabulous slate selected from a particularly rich field of work this year," says ASC President Richard Crudo. "It's amazing how these cinematographers have once again redefined the boundaries of what we do." This is Deakins' 13th ASC nomination. He previously won for Skyfall (2013), The Shawshank Redemption (1995) and The Man Who Wasn't There (2002). His other nominations include Fargo (1997), Kundun (1998), O Brother, Where Art Thou? (2001), No Country for Old Men (2008), The Assassination of Jesse James by the Coward Robert Ford (2008), Revolutionary Road (2009), The Reader (2009), True Grit (2011) and Prisoners (2014). He was also the recipient of the organization's Lifetime Achievement Award in 2011. Lubezki won the ASC Award last year for Gravity. He also took home top honors for The Tree of Life (2012) and Children of Men (2007), and was nominated in 2000 for Sleepy Hollow. Pope previously earned a nomination for The Illusionist (2007). These are the first ASC nominations for Faura and Yeoman. For more information regarding the ASC Awards, visit the ASC website at www.theasc.com, or call 323-969-4333.

A short documentary I shot exploring a little bit of the world through the eyes of the homeless. Please I'd like your thoughts on it. It's super short and I'd love to make it longer. Sadly It was a one man crew and I tried my best! I wish so much I could have had someone dedicated to the audio on set but it was just me and it was in a real world environment so I either get the interview or I don't... I feel that my audio is the weakest part of this mini doc and ironically the most important. Maybe it can be better adjusted in post but I'm not too good in that department of audio. http://youtu.be/7526GdVQgMM https://vimeo.com/113297473 Thank you

Hello everyone. Six months ago, I arrived in Los Angeles from Moscow, where for 6 years he worked in television. Now actively learn the language and do event videography. Much before moving sold, so not removed on an expensive camera. I would like to get acquainted with working in California. My work can be viewed: