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Showing results for tags 'Cinematography'.
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Hi guys, I've been given the task to shoot a music video. The director wanted to be to create a lighting set up similar to the picture below. It's very low budget, so I have 3 kino flows and one Arri 2k. I wanted to know what will be the best way to avoid spill when using the kino flow to light the subject? Thank you for reading Christopher
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Hi, everybody. I'm currently working as a creative services producer, but I want to get into working on larger productions. I'm currently kind of between the levels of lighting cameraman and cinematographer. Can anyone give me advice on how to get some more experience on a larger set or more training with cinema cameras? I'm open to any advanced training programs, shadowing, or assistant jobs. I already know that I'll need to move to an area with more production, but any other advice on the subject is greatly appreciated. Thanks in advance.
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The American Society of Cinematographers (ASC) has named Eric Rodli as executive director, effective immediately. In his new role, Rodli will be responsible for driving initiatives that uphold the mission of the organization – to advance the art and science of cinematography – and creating a supportive community for its members. Rodli, an ASC associate member since 2001, has served six years as co-chair of the ASC Motion Imaging Technology Council’s Cinema Display Committee, dedicated to exploring new technologies and providing guidance on enhancing the moviegoing experience in service to the filmmaker’s creative intent. He co-authored the committee’s 2016 white paper, “Cinema Display Evaluation Plan and Test Protocol,” which explores the key image quality parameters of dynamic range, color space and overall luminance, as well as suggesting testing parameters. Rodli also has been a member of the Academy of Motion Picture Arts and Sciences Task Force on Content Preservation, and has participated in numerous industry panels ranging on topics from digital media distribution to projection. “We are thrilled to have someone of Eric’s caliber propelling the vision of our organization to new levels,” says ASC President Kees van Oostrum. “As the ASC nears its 100th anniversary, it’s important that we build on the legacy of our founders and continue to support the membership creatively, as well as encourage and educate the next generation of cinematographers. Eric has both the industry and creative relationships to augment our efforts.” Rodli’s career includes extensive experience as an executive in the entertainment technology industry with management roles in start-ups and large corporations. He served as president at Iwerks Entertainment, Bexel and Kodak’s motion picture film division, and most recently as CFO of BeBop Technologies. Rodli has worked on numerous creative and technical initiatives across multiple industry sectors, dating back to pioneering the use of the first generation of HD cameras, as well as 3D projection, digital streaming technology, and laser projection systems. His strategic and hands-on experience in the imaging chain has fueled his belief that technology should serve the artist. “I’m honored to be on board at the ASC to cultivate the progress of artists whom I admire for their outstanding contributions to so many indelible images,” says Rodli. “Throughout my career, I’ve been fortunate to work with many cinematographers in various capacities and am constantly awestruck by their impactful aptitude, techniques and creativity. I look forward to working with the board and advocating for the members.” Focused on education, the ASC hosts many programs, including the ASC Master Classes, Student Heritage Awards, Coffee and Conversation Q&As with cinematographers, and panel discussions by the Education and Outreach Committee. The award-winning efforts of the ASC Motion Imaging Technology Council (MITC) since 2003 have shaped the standards and practices of cinematography for digital workflows, with the group and its committees working closely with the Academy’s Sci-Tech Council and SMPTE. The ASC Vision Committee also holds events to foster diversity and equality on camera crews. -
Lots of discussion on the why of shooting with an iPhone, but I'm wondering about how. As in how do you create lighting that will let you get a good meaty picture and lots of subject separation using an iPhone. Expressiveness is a topic for another day. Specifically where would you start with light levels, ratios, color temps, and the rest? I presume you would set light levels so the camera could be shot at its native ISO value, but beyond that: Would you go very hard source light? Ultra diffused? Religiously keep your ratios at 2:1 or eliminate the fill and let the shadows fall where they may? How about colors? With the limitations of the iPhone sensor would it be best to define shapes with contrasting colors (solid-colored costumes against relatively plain cool backgrounds) or would it be better to keep everything homogeneous (beige on beige on beige).
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Hey, I have 2 travel films here, one from Vietnam and another from Sicily. Whenever visiting foreign places I like to shoot as much as I can to practise framing etc. I like to go for this documentary style while still trying to be artistic. I am also a freelance illustrator so that's where that's coming from Basically, not 'real' cinematography practise which would include lighting, blocking etc. but more about finding composition/moods and then editing Hope you like, they are both short Vietnam: Sicily:
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Hi Everyone! I am selling my Preston FIZ3 3 channel remote focus kit. I have owned this for the past couple of years. And it has always been used only by myself, It has never been dry hired. It has worked flawlessly through that time and I have never had an issue with this reliable kit. I purchased this as a Preston FIZ II Kit, but upgraded it to the FIZ3 handset and also sent the MDR back to PCS to get the Blue dot G4 upgrade and also to be serviced. (I can provide the receipt if needed) The Handset is 1 1/2 years old and also the Heden M21VE-L motor is only 2 years old as well. All the other equipment is a bit older but still works perfectly, as I have always taken great care of this kit. Im Looking for $17,000 USD but I am also open to reasonable offers. In the Kit for sale Handset 1x FI+Z 3 Handset (#2803) 5x Premarked Disks (A,B,C,D,E in Imperial) 6x Blank Disks Microforce Digital 2 1x Microforce Digital 2 (serial #D25274) 1x Handset to MF Bracket Motors 1x Preston DM1 (#1791) 1x Preston DM2 (#2483) 1x Heden M21VE-L (#M21VE-3849) 5x Heden Gears 0.4,0.5,0.6,0.8,0.8 wide 7x Preston Gears 1x0.4 2x0.5 2x0.6 2x0.8 Misc screws for gears etc MDR 1x MDR-2 G4 Bluedot with 4pin serial port (#1192) 1x MDR-2 Cheese plate (Kar Wai Ng) Cables 4x Motor Cables (3x R/A to R/A 1x R/A to Straight) 1x Cinetape Interface Cable 2x Microforce to Handset Cables 1x D-Tap Power 2x R/S 3pin Power cables 3x R/S 3pin Camera Run Cables 1x Moviecam Camera Run Cable 1x Panavision Camera Run Cable 1x Serial to USB cable Brackets 2x 19mm Hill Brackets 2x 15mm Hill Brackets 2x 5/8' Hill Brackets 4x Hill D-clamp Bracket slider 4x Hill/Preston motor Rosetts 2x 15mm/19mm Colett 3x 5/8"/19mm Colett 2x 15mm/19mm Preston Dogbones Batteries 5x Sony NP-50 Batteries 1x Watson Two Bay Charger 1x Single Bay Charger Case 1x Nanuk 945 Black Hardcase Fstop 1x PLC fstop wireless WIFI 1x D-tap Power Cable 1x Panavision Power Cable Im also throwing in the F-stop wireless iris as well as I have not used it and it came with the original kit. I believe you can download the 'wireless iris' app and control a motor through your phone. This kit is located in New Zealand. I don't mind shipping it to anywhere in the world. Purchaser pays for shipping. Payment through Paypal is best. I also have higher res photo files if needed, I can email them to you. If you have any questions or would like to get hold of me please contact me through email at Many thanks, David Steel
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Hi everyone, on February I'm going to shoot a short film (5, 6 minutes long) and I have an scene in a car. The scene is short, least than 2 minutes, and have just a little of dialogue (a monologue in fact). The talent is an old lady. the scene is in the day, and the background has to be some kind of road or highway, but is not important to have a lot of cars, and anything happens with the road itself. Now, the tricky parts. First of all, is a short film practically without budget, so we can't have a car rig or a car trailer. Second, is important for the plot that the passenger seat is hide from the camera, so I already sketch some shots from behind and from the side (shooting in the passanger seat), and I think their going to work, but I'll glad to hear your thought an ideas about this. Third, the character is kinda clumsy, so is important that when she monologue, she take off the belt and forget to put it back, or maybe look the radio and no the road, or when she grab something from the passenger seat, that the car maybe shake for a moment before the woman take control of the wheel again. Is nothing from a Fast and the Furious movie, but I told you because I don't do it anything like that in a busy road with a lot of cars. About sound, I think that, like most of the shot we barely see the woman's mouth, we're going MOS and later do ADR of that scene, and fill all the car sounds with the sound engineering. And like the background is not that important, I think to get a place (like a farm) when the talent can drive in an internal road and there's not going to be cars around. That's were my thought about the scene, but looking for information, I find that you can take the "poor man's shot" an film the car stationary. Anyone can tell me your experience with this? I understand this is the best way for safety reason's, but I have the feel that if increase the cost of the short film (for all the work in post with a green screen) the director is going to veto the idea. What about the talent driving while acting? Is going to hurt her performance or you believe it doesn't matter? If you want to know, the scene has to be mundane but at the same time, is important that you (the audience) notice how careless or clumsy is the woman. Also, is the first scene of the short film, so to me is important that have quality because if you get distracted by some thing wrong, is going to damage the rest of the short film. Oh, and the last one. It should be a sunny day (for plot reasons) so what about the lighting? If I could, I'll shot in a cloudy day, but that's not possible. So, do you have some thoughts on the matter, or have any experience could help me? Let me know if you need to know more about the story or the production. I have some sketches from the location (the car) about camera position and some story boards, but I can't upload from here. If you want them, let me know. Thanks a lot, bye! -
Hi everyone! I'm shooting a music video very soon and the client is looking for this in-camera effect. Almost like kaleidoscope. I understand there are some type of mirrors involved but not sure how to achieve it. Does anyone here have any suggestions? Thanks, Jonas
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Continuing 25 years of support, Panavision once again celebrates the art and craft of moving pictures with filmmakers at the Camerimage International Film Festival of Cinematography, which runs November 11 - 18 in Bydgoszcz, Poland. This year, Panavision hosts a masterclass with Oscar®-winner John Toll, ASC, and a workshop on large-format filmmaking. http://www.panavision.com/panavision-brings-millennium-dxl-camera-and-large-format-lenses-camerimage-2017 On Nov. 14 in the MCK, Panavision Day begins with the workshop, "The Beauty of 8K Large-Format" from 11:00 – 13:00. Peter Deming, ASC recently wrapped production on The New Mutants, utilizing the Panavision Millennium DXL 8K camera and lenses to create stunning visuals for the next X-Men installment. A screening of The New Mutants trailer be will explored by Panavision’s VP of Optical Engineering Dan Sasaki, Senior VP of Innovation Michael Cioni, and Light Iron supervising colorist Ian Vertovec. They will discuss the unique advantages of 8K capture, high-resolution creative control, and how ultra-high resolution is one of the best-kept secrets for producing even better imagery. Toll, who is this year’s Camerimage Lifetime Achievement Award recipient, will participate in a moderated conversation from 14:00 – 16:30. The two-time Oscar®-winner (Legends of the Fall, Braveheart) will discuss excerpts from his films, share anecdotes from the set, and answer questions from the audience. At the Camerimage exhibition area in the Opera Nova, Panavision will have Millennium DXLs on display for festival attendees to get hands-on with the camera. The new HDR OLED Primo Viewfinder, the advanced PX-Pro color spectrum filter, and a selection of innovative large-format and anamorphic Panavision lenses also will be showcased alongside the Panavision System 65mm film camera used to shoot Murder on the Orient Express. The iconic tale of mystery aboard the legendary train, directed by Kenneth Branagh and shot by Haris Zambarloukos, ASC, GSC, will screen on the opening night of Camerimage. Adjacent to the Panavision exhibit, the Light Iron Theater will screen DXL footage in HDR format; Panalux will demonstrate their new underwater light, the AmphiTube product range, which features a bi-color LED solution designed for both wet and dry environments; and LEE Filters, celebrating 50 years in business, will showcase their next-generation neutral density PanaND filters.
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Proceeds from Sales of Sculptures & Assemblages to Benefit City of Hope Writer-director Matt Reeves (War for the Planet of the Apes, Dawn of the Planet of the Apes, Cloverfield), Oscar®-nominated cinematographer Jeff Cronenweth, ASC (The Girl with the Dragon Tattoo, The Social Network), and cinematographer Ernie Holzman, ASC (Without a Trace, Cora Unashamed, Thirtysomething) present “Ernie Holzman: Life ReFocused,” an art show celebrating film cameras and lenses from the 20th century. The event takes place on November 12, from 4 – 7 p.m. at RED Studios Hollywood, where assemblages and sculptures created by Holzman will be for sale, as well as a rare print of the iconic set of Alfred Hitchcock's "Rear Window.” All proceeds benefit cancer research at City of Hope. After being diagnosed with Stage IV non-Hodgkin’s lymphoma in 2011, Holzman underwent surgery and two rounds of chemotherapy. Unable to work, a good friend gifted Holzman with a collection of vintage filmmaking equipment. The cinematographer deconstructed every camera and lens, and was ultimately inspired by the aesthetic beauty and elegance of the equipment, which had been commonplace in his career, to create art. By selling the pieces he has designed, Holzman wants to “pay it forward” and acknowledge the life-saving work of Dr. Barry Rosenbloom at Tower Oncology. Holzman told American Cinematographer magazine, “The opportunity to create art, and ultimately have this showing, has not only been enormously healing for me, but has given my life greater meaning than I have ever known.” City of Hope is a world leader in the research and treatment of cancer, diabetes, and other serious diseases. They deliver scientific miracles that make lives whole again. Founded in 1913, City of Hope is one of only 49 comprehensive cancer centers in the nation, as designated by the National Cancer Institute. The event is open to the public. RED Studios Hollywood is located at 864 N. Cahuenga Blvd, Los Angeles, 90038. No RSVP is necessary to attend.
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The American Society of Cinematographers (ASC) Photo Gallery will re-open with a public debut on September 9 from 4 – 9 pm at the historic ASC clubhouse in Hollywood. The exhibit will feature an entirely new collection of still photographs by nine members of the organization, curated by Paris Chong, manager of Leica Gallery LA. It will remain open to the public, by appointment, during weekdays from 11 am – 4 pm. To attend the opening night or visit the exhibit, contact office@theasc.com. The ASC Photo Gallery is designed to showcase the artistic achievements of the organization’s members, which consist of 375 award-winning cinematographers from around the globe. The first exhibit opened in March to much success, prompting future editions. “Still photography is the personal expression of the artist’s voice for many of our members,” notes Lieberman, Chairman of the ASC Photo Gallery Committee. “Images have inspired thousands of cinematographers over the decades, and we hope to encourage others by sharing our works of art so we may continue to fund outreach programs that influence the next generation of filmmakers.” The ASC members participating in this new show include Antonio Calvache (Queen Sugar, Little Children), Richard Crudo (Justified, American Pie), Fred Elmes (The Night Of, Blue Velvet), Denis Lenoir (Still Alice, Uprising), Charlie Lieberman (My So-Called Life, Heroes), Karl Walter Lindenlaub (Suits, Houdini), Suki Medencevic (Stuck in the Middle, The Pixar Story), Steven Poster (Donnie Darko, Southland Tales), and Robert Primes (Felicity, My Antonia). Each cinematographer contributed five photos. The 45 images on display are printed, framed and available for purchase. The limited-edition prints are numbered, signed and certified. Unlimited Edition Box Sets will also be available. Proceeds fund the nonprofit organization’s educational initiatives. Purchases will also be offered online via the ASC Store, where some photos from the March exhibit are still available. For more information, contact office@theasc.com or call (323) 969-4333.
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Hey guys! Please check out The Ultimate Anamorphic Lens Test where we tested 13 brands, 40 lenses and created over 500 tests and 130 4K videos. You can compare them all in our 4x side-by-side viewer here. Brands tested include: Angenieux Optimo 44-440mm T4.5 AS-2 Anamorphic Zoom ARRI / Zeiss Master Anamorphic Atlas Lens Co. Orion Series Anamorphic 65mm T2.0 Cineovision Anamorphic Cooke Anamorphic /i Special Flare Elite Anamorphic Hawk V-Lite Vintage `74 Anamorphic Iscorama Pre-36 Anamorphic Lens Adapter Kowa Cine Prominar Anamorphic Lomo Round-Front Anamorphic Panavision Auto-Panatar Anamorphic P+S Technik 35-70mm T3.2 Cinemascope Zoom Todd AO High-Speed Anamorphic Hope you enjoy it. Please let me know if any questions!
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Do clean waveforms equal better shots? I was looking at the waveforms of a few different great films and they all shared something. The waveforms were very clean looking and usually surrounded by big areas of black—completely unlike mine which typically look like RGB shredded wheat. Attached are examples from Roger's The Assassination of Jesse James and Ben-Hur. Of course there are no shortcuts around careful composition, elegant lighting, and proper exposure, but am I crazy to think that uncluttered, organized-looking waveform patterns might also be an indicator that the image is on the right track visually?
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I was looking at the waveforms of a few different great films and they all shared something. The waveforms were very clean looking—completely unlike the ones from the footage I shoot. I put an example from Roger's The Assignation of Jesse James below
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Shane's Inner Circle
Jimmy Jib posted a topic in Students, New Filmmakers, Film Schools and Programs
Just wondering if anyone found this beneficial. It seems packed with excellent information, but your subscription does not grant you access to past content, only current. https://www.hurlbutvisuals.com/blog/shanesinnercircle/ I'd like to know if Shane answers specific questions from subscribers like a real mentor would. And not only "sometimes" of course. So even if you have to pay for additional content once you are a subscriber, I think it could be worth it based on the samples I've seen. -
Hey all! Just finished the ASC Manual and there are a few spots that speak about "Ground Glass". From what I've collected, it seems to be a piece of glass that works between the gate and the reflex and often includes different aspect ratio guides? Can anyone give me a clearer definition? Thanks, Jake
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This is a short film I shot earlier this year - Buden (Awake; directed by Simon Moe and Lara Lovrič). I also worked as a 1st AD, editor, producer, sound designer and colorist. The language is Slovene but it has HQ English subtitles. We are enthusiast student filmmakers with aprox. 4 years filmmaking experience. International festival Zoom 11 chose this film as one of the "Top 10" film (503 were submitted).I would be very happy to get some honest feedback, specifically on my cinematography. Majority of the film was shot on Canon EOS cams, the slow-mo sequence was shot on Sony A7s and some internal shots on Nikon D3300. https://www.youtube.com/watch?v=Tg5angkY8Ig&t=72s Thank you and best regards, Martin -
Hey Guys, So i've been tasked in DoP'ing a music video next month and at the directors request, he want's that 70's style look, as we shall be re-creating a 'top of the pops' style performance for the band. My references for this sort of thing are basically anything Bruno mars has put out over the past 4 years: Bruno Mars - Treasure: Bruno Mars - When I Was Your Man: and... Pheonix - J Boy: Ideally, due to budget restraints, it would have to be digital and as we'll be renting off a friend for a silly price, so it will most probably be an Epic. However i'm aware 16mm would of been ideal for this. So my question is, setting aside camera movement etc, what would you suggest for the 'look'? I'm quite set on hiring some Tiffen star filters for the star effects and throwing a 1/2 pro mist in the mix to bloom the highlights on an old vintage zoom, but what would you suggest for de-grading the quality of the image? Thanks in advance, Nick www.nicholasleeshield.com
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Hey guys. Check out this nice article about this full frame lens phenomenon we're seeing in 2017. If anyone was at NAB or followed it, you know how big full frame lenses have become this year. We sat down with Matt Duclos of Duclos Lenses and Mark LaFleur of Old Fast Glass to discuss what this means and where we're heading in cinema. http://blog.sharegrid.com/blog/why-full-frame-lenses-expose-the-future-of-cinema-cameras -
Good afternoon! I am a huge fan of creative cinematography. Obviously we create images that first and foremost enhance our story, but personally, I like to be creative with it. Now after watching AHS, using the roll-axis has been stuck on my mind for a while, but as far as I can tell, this is usually done by huge heads on cranes. We have a Ronin, but it doesn't seem like we can actually controll this axis. Any ideas from the seasoned cinematographers in here? Also, is there an industry name for these shots? Thanks!
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Hello, I'm trying to understand color in a more professional way. I'm a Cinematographer and not a Colorist but I enjoy color grading and I've done it for several year. (not paid) I am working on a big documentary and I was hoping to get some feed back on the look I pulled off. I got this look by converting my BMDfilm to LOG-C then applying the Arri LOG-C to REC709 LUT and used a reference image I liked from a feature film to fine tune the color and contrast. I think maybe I went too far... I don't want the Instagram look or candy pop look, I truly just wanted a look that was close to natural but a little better. Natural with an edge! Please let me know your thought I'd really appreciate it. https://drive.google.com/open?id=0B5wBk9P7iZUMcWRiWXBya3FZYUk Sincerely, Davi
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Hello all, This coming fall, I'll be heading into my graduate thesis film and I'm considering using a 2 camera set-up. I've used a 2 camera setup once before and it didn't work in the way I thought, nor did it speed up the process. Since then I've seen it used a few times to varying results; the best use being prioritizing for your A cam and then picking off shots where the B cam can be most effective, if it can be at all. In other instances, I've seen B cam placed and it ends up the screwing up the A cam lighting or continuity and eyeline issues occur. If anyone has had any experiences or advice shooting/staging 2 cameras successfully, using different cameras or can clarify how to properly set it up I'd love to hear about it? Any kind of information is helpful. Thanks in advance, Rob
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Finished up a passion project. Short narrative, thought I'd share it guys. Shot on BMCC 2.5k w/Speedbooster and Sigma art 18-35 Lens. Shot Raw and graded in DaVinci Resolve. The story and idea is based on experimenting with the power of music.
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Hey everyone! I would love to hear your feedback on my latest film. This was a translation of my time spent in Baltimore and Washington during the trump election. I wanted to show the viewer what it felt like as I was waling through the streets during this incredibly tense time in Americas history. http://www.freshfinishmedia.com/canadian-filmmaker-washington-election/ -
The American Society of Cinematographers (ASC) is exhibiting still photographs by nine of its members at the historic ASC clubhouse in Hollywood. Curated by David Fahey of Fahey/Klein Gallery, the temporary exhibit runs through March 31. The gallery is open to the public by appointment during weekdays from 11:00 am – 4:00 pm. Photographs on display were shot by some of the world’s top cinematographers including, Russell Carpenter, James Chressanthis, David Darby, Stephen Goldblatt, Jacek Laskus, Phedon Papamichael, John Simmons, John Toll and Theo Van de Sande. Five photos from each of the ASC members comprise the exhibit. A limited edition of each photograph has also been printed and is available for purchase. Proceeds fund the nonprofit organization’s educational initiatives. “The ASC is passionately dedicated to advancing the art and craft of cinematography through education,” says ASC President Kees van Oostrum. “Photography not only inspires the work of directors of photography, but it has inspired many great artists throughout history. We hope that by sharing some of our members’ images we are able to encourage others to pursue the art form and foster an appreciation for the visual language.” To make an appointment, contact office@theasc.com or call (323) 969-4333.
