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Hello guys ! I'm new to cinematography and I need help about the ideal use of kino flo light ? thanks in advance

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Hey everybody. This is my first post :) I wanted to get everyone's opinion on the lighting for this scene, and how Janusz Kaminski may have accomplished it.

Hey guys. Currently writing my dissertation for my university degree. I'm writing on the topic of colour in film and to what extent it evokes emotions in the audience. I have discussed a lot to do with both cinematography and production design, mainly the importance of the collaboration between the two roles. A large majority of my essay is currently discussing modern black and white cinema too. I have a few questions relating to my main question. Would be highly appreciate if I could get some answers/opinions on the topic from some of the DOPs in the group. Would love to hear examples of your actual work as well. Thanks in advance. Main question: To what extent does the use of colour in film evoke specific emotions in the audience? Sub Questions: What would be your main reason for choosing to shoot a film in black and white? In what ways would you work differently in creating specific emotions, how do these differ to shooting for colour? How did you direct the audience to a certain part of the frame without the use of colour? In regards to the colour films you have shot, did you work with any kind of colour harmonies in mind when shooting the films? How closely do you work with the production designer in creating a specific feeling/mood throughout a production? If there is anything else you would like to add please do include it in your answer. Thanks!

Simple Questions, to begin with, Do you shoot in FILM or VIDEO? IF FILM or VIDEO, why? Do you believe that FILM costs more to use that VIDEO? Do you seek out Motion Pictures, (i.e., The Hateful Eight) shot on film? And if so, Do you seek out film-recorded Motion Pictures, such at The Hateful Eight, to see the PROJECTED on film? I am beginning a new production company and would like industry feedback. I will also post, throughout this discussion, facts such as... According to MPAA, in 2014, there were 14,526 ANALOG or Film projected screens in the World, 62,784 Digital NON 3D screens and 64.905 Digital 3D screens in the World. In the US alone, it 1,747 Analog, 25.372 Digital NON 3D and 16,146 Digital 3D screens. (http://www.mpaa.org/wp-content/uploads/2015/03/MPAA-Theatrical-Market-Statistics-2014.pdf) I am of the opinion, contrary that it may be that film is NOT dead, certainly not as a medium for Recording Motion Pictures. But I must agree that its most likely no longer a widely used medium for Projecting Motion Pictures. FYI, I shoot on 35MM and 120 FILM photography, as well as AD on 16MM & 35MM, and I would like to continue to use Film as my recording Medium. I don't believe its dead, just as OIL paints didn't 'die' when ACRYLIC paints arrived. Different mediums for different artists. I look forward to hearing for you. jGb

Dear wisest of cinematographers, In the course of my matura I am required by the state to write a 40k-60k characters long academic writing about a subject of choice in form of a question. The question that I came up with a year ago was: How does the job of a cinematographer in a project using almost only green screen change? (As seen in Gravity or most parts of Avatar) So this in mind I then started researching and writing. In order to finish my writing I am now asking you, the community, for an answer to that question, a conclusion if you will. Cheers, Laurin H.

My first reel, please critique if you can. Thanks. https://vimeo.com/155261636

I really enjoy videos like this. I work on low-budget sets, and stuff like this really just drives me to do even better work, and also inspires me. It's incredible to see how elaborate the sets are, and how it's actually done. If you know of any good behind the scenes like this, feel free to share.

Hi Everyone, In an effort to stay engaged with the craft of cinematography when going through periods where I am shooting less I've resolved to write a little more about it. I've started up my blog again, and have tried to focus on the cinematography of films that have been an influence on me. My goal is to write more from an emotional place rather then going too deeply into the gear/tech aspects. I've actually really enjoyed the exercise and even found it helpful when thinking though my own projects. I figured I'd post a link to my blog here so others can check it out if so inclined... https://scenesfromanimaginaryfilm.wordpress.com/

Hello all. My name is Bheki Ngwenya who is currently in the last and final year of a Film Production and Cinematography degree. At the moment I am doing a dissertation on cinematography. My chosen topic on the vast subject of cinematography was "visual style". With this post I am aiming to use your feedback as part of my research in identifying what visual style is and what it consists of. Looking forward to your replies. Cheers. Bheki Ngwenya.

I've been bought onto a music video as DOP super last minute, and literally have a few days to location scout and plan everything. I've had to put a lighting rental list together without even seeing the locations which is crazy, although i've seen photos and have done my best to understand everything. The music video is going to have a high key american high school feel to it, we are shooting in the UK so in terms of production design theres a lot for the art team to do. One of the locations we are shooting in is a hallway of lockers, it's quite short, about 20 feet long. One of the scenes that the director has asked me to light involves a practical light change from being low key, to quite a lot of daylight/sunlight entering the hallway. I can't seem to attach our location photo due to file size, however above our lockers is a 3 foot gap leading into another room. My plan is to place my lighting in that room, creating an artificial row of windows above the lockers. These windows will be out of my shot, just above our top edge of frame. For my high key daylight look, plan to make use of a 1.2kw HMI, along with a couple of 250 HMI pars through trace frames to fill the hallway with daylight ambience. Shooting at 5600k in camera. I then plan to have something like a 650w tungsten through a window shaped cookie, casting a beam of warmer 'sunlight' along the back wall of the hallway, and probably another smaller tungsten unit doing the same towards the foreground of the hallway. A fairly basic 'skylight' and 'sunlight' setup I suppose, it should look natural. Potentially a little bit of atmos to diffuse the tungsten lights. For the low key setup the idea is that the windows are now covered, as if the blinds are down, and only the internal lights are lighting the set. I will probably turn off the actual practical lighting, and make use of my own. The plan is to mega boom a 4ft 4 kino over the top of the lockers, so it is position lengthways down the corridor as a top light, lighting only a portion of the hallway. Potentially a very soft fill coming from just above and behind the camera to light the set a few stops under what the kino is doing. Below are some random examples of lighting, not exactly how I plan to make it look, but a clear representation of the difference in lighting between the two setups. Now the tricky thing is that the director wants to try and do a practical change from our low key setup, into the daylight setup, during a key shot in the scene which is a close-up of the female lead in the music video. It doesn't have to look natural in any way, just needs to be an obvious change. I'm thinking about having the tungsten lights on dimmers, and then flags in front of the HMIs that are then swivelled away during the change, flooding the set with the daylight ambience. I really haven't done a setup like this before, especially with kit like this either, so would love to hear how others have achieved this kind of change in the past. Im looking forward to reading the replies.

Hi Guys! I've found some decently priced Source Fours (HID 150w) and I'm looking for anyone with experiences or opinions on the HID version of the source fours. I understand they are not dimmable and have a cri of about 85, so I'm debating whether to purchase the more expensive tungsten version or get the cheaper HID version available. I plan on using them to create "harsh daylight" through windows and maybe as a bounced key etc. Looking for any thoughts/experiences/suggestions. Thank you.

Hello again, This is a zero budget short film I made. I am a fan of David Lynch so I tried to shoot this film with no money. It's my first short and it was awarded 4 stars at British International Amateur Film Festival (BIAFF). I tried to make it as cinematographic as possible. There are a lot of symbols in this film that make it a bit harder to understand. Plot line: After a car accident, a man finds himself unable to control his own destiny. http://www.imdb.com/title/tt4539768/?ref_=fn_al_tt_9 Let me know what your thoughts are about the cinematography or why not, on the film itself. (sorry for my English, it's not my native.) https://www.youtube.com/watch?v=QwhYJmgzHuo

Hello, This is my first post. I just finished my second short film. My first short has gained some attention because of the cinematography so I decided to let the director's chair for someone else and concentrate to work as a DoP. Please, tell me how it feels to you. It's a zero budget short. And please excuse my English...it's not my native. thank you!

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Hi guys, I would really like a fresh pair of eyes to take a look and give me some honest feedback. Got out of school in September. Thanks! Sraiyanti Haricharan

Hi there, I am going to be shooting a music video using ultra violet lighting as well as standard strobe lighting. I wanted to know if anyone has used certain uv lights before or is there a way to shooting using tungsten lights with something like the Congo blue gel. This gel takes out a lot of light so i was wondering how i could match a 2 or 4k using this gel. Also is it easy to mix the to types of lights or are there any major problems I could run into? Examples of other work attempting this would be grab too. Thanks Ramzey

hello guys! I just finished to edit and grade my first narrative reel, I shot mostly in 2K but I uploaded on youtube at 720p for a better streaming. I've got a question, what's the best youtube setting you go for when you export and upload your reel? it's 720p H264 ok? please, feel free to give me any feedback about my cinematography reel, I'd be more glad to learn from feedback, also being this my first reel. https://www.youtube.com/watch?v=pOQ7Pf2F_as&feature=youtu.be Thank you a lot :) Stefano

I'm shooting a poor mans driving scene in a couple of weeks time, it's for an experimental cinematography unit that I'm doing for part of my film degree. My plan is to have the car appear as if it's driving down a street at night. For this I'll be using a soft moonlight key, along with various sodium gelled lamps, a mockup traffic light made up of 3 dedos with coloured gels, and various lamps swinging and swivelling replicating passing cars etc.. I want to do a practical lighting change as if the car has driven into a tunnel. I plan on just having everything on a dimmer, so i'll dim down all of the sodium lights, and dim up a side daylight balanced light shining into the car, with the addition of poly on the other side for fill light. This will be the ambient light from the tunnel, probably a dirty kind of daylight, for the cheap fluorescent look, i'm thinking like Rotherhithe tunnel in London. My main question is that I want to achieve the effect of passing overhead fluorescent strips reflecting on the cars front window screen. I'm aware that this might be achievable in post, however for the sake of trying, I'd like to see if it would be possible to create this lighting effect practically. An idea I have is to use a single fluorescent tube (either a kino 1 bank, or a cheap shop bought tube) rigged above the car as if its on the roof of the tunnel. Then I would have a spark simple move a cookie along the light, and have the light switch off, then reset have the same movement again. Just wondering if/how anyone has done this effect successfully in the past? Thanks in advance for any replies, I appreciate the support on this forum a lot!

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.

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.

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).

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

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

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!