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My Gear


  1. 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.
  2. Hey guys, I'm a 24 year old Cinematographer living in Seven Sisters, London. I recently shot a film called The Mechanic. Its a 60 second doc about Bo Hare, a mechanic and engineer working in rural England, who finds pleasure in the restoration of classic cars. Shot on a Blackmagic Ursa 4K with mixed tungsten and practical fluro lights, i'm a cinematographer, but I directed this as well as shot it. Drone shots on a DJI Inspire 3 Adv. Used vintage nikon AI-S primes to shoot everything, very much recommended if you are on a budget, tons of character, they flare beautifully. There is going to be a longer version forthcoming, but this cut dives straight in to the character and is hopefully an intriguing minute! https://www.youtube.com/watch?v=h6oVWtugUyo Its for a competition running by Sony Europe where I could win a camera, so if you enjoyed it please like it on youtube..! :) Feel free to shoot with any questions or thoughts! Orlando
  3. 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
  4. Hey guys, I have this job with part day, part night scenes, all exterior, sunny look, but with bad weather on my way. It's a pool party for a fashion film. My budget is not that big, and I have to pick between HMIs or TUNG lights to make all the job. NIght and daylight exterior. Can you send some ideias with your experience? The câmera is a RED EPIC DRAGON. The look of the film is pretty colorfull with a lot of gels and some uv light. Thanks
  5. In his interview on the American Cinematographer podcast, Crescenzo Notarile ASC says when he was shooting CSI that he would do his closeups from 40 feet away using 150mm to 250mm lenses (as opposed to Gotham where he uses 21mm to 32mm). As mainly a stills photographer, I understand where he's going, most people look a lot better with longer lenses. However, the farthest I get from my still subjects is 10 or 15 feet. Forty feet away would be a whole other universe... So, in cinematography is there an advantage to shooting with such long lenses besides the flattering look and change in subject-background relationship? Does it change the actor's dynamic with the camera? What other benefits does it bestow? Thanks
  6. Hey everyone! I will be attending Emerson College's LA campus fall of 2017 and we are required to hold an internship for the semester. My focus is cinematography, and am particularly looking for internships that pertain to it. However, this has so far not been an easy search. Most internships I see are "entertainment" or administrative internships. I'm not worried whether it's paid or not, and certainly do not mind internships that require office duties and tedious workloads. My one desire is to find a place where I can at least learn something about the craft and industry. So far, interning for Shane Hurlbut or Panavision is about the best internships I could find. No doubt I could put in time at a rental house, but I've seen many say that time could be spent better elsewhere. Anyone have experiences or suggestions for finding said internships or any that are cinematography based in LA?
  7. To end the year of 2016, my friend Mark and I decided to head west on an adventure and to shoot some beautiful Californian landscape footage exclusively on the DJI Mavic Pro. See where we've been. Song: "Mountain Game" by Animal Collective Follow me on Social Media: http://instagram.com/photo.corey http://www.coreymachado.com Check out Mark's Channel: http://bit.ly/2ir4May
  8. Hi everyone! So i recently won a video competition and i have entered another one and have been shortlisted. Unfortunately this one is based on popular vote (so if you have a spare 2 mins you can vote for me here http://videocontest.brosway.com/en/content/like/add/call/92269/1555?em= ) Though competition money can be very good, do you think they are worth entering or do you think really work will always prevail over online video contests?
  9. Hey everyone, I'm currently a student studying cinematography, and have found some dilemma when working with a gaffer. Often times I am very controlling in pre-production; I know exactly what light I want where with what gel and how many foot candles it will read. However, I feel like just handing my gaffer a floor plan is a disservice to them as a part of the creative process. What is your experience/take on the Gaffer-DP relationship? Where are the lines drawn? Who does what when in pre-production? Thanks a million!
  10. Hey guys check out some of my favorite shots from this summer! https://www.youtube.com/watch?v=a3nMNsaYGAE Hope you enjoy! Taylor
  11. So last night I watched the movie Nerve, DP'd by Michael Simmonds and I just loved the high stylized look similar to John wick and Drive but different. My question here is, does anyone know what lights he used. Simmonds placed colorful practicals in the scene that had this neon look to them. Are they just gelled kino tubes or a special light made for this? The actors had this bright neon glow to them. The scene that got me questioning the most about how it was lit is the picture attached where actors Emma and Dave walking into some place and the overhead has these small dangling Christmas like lights with the over exposed ceiling ( but I would not say it's over exposed. More like a neon or black light look that of what you would find glow in the dark arcade). I would love to know how they lit this. Thanks
  12. Hi all! Shooting a student short December 9th-11th and the actor goes from laying down on a bed (on his side), and jolts awake completely upright. We want to have the camera follow his orientation, and go from vertical (on the cameras side) to a typical position horizontally. I'm wondering if there's a way without something like a Lambda head or maybe a full Dutch head. Suggestions?
  13. Hi guys! Let me introduce myself, I am an international student in Arizona and currently I am in college majoring in Media Communications. When I transfer to a university I was thinking about getting a bachelor's degree in General Business or Management (still have to decide which one's better for me), also I thought about getting a minor in Digital Film making, and a minor in English focused in Creative Writing or Rhetoric and Professional Communication (still have to decide which one's better for me). I thought about this because the film making industry isn't all about just knowing how to create a movie, but also how to manage the business of the film industry. That's why I thought it would be better to have a BA in Business. Also, I thought of the minor in English because a lot of filmmakers need to know how to write well, have a critical thinking, and be creative. My main questions here are: Is this plan a good idea? Or do you guys think I should get a BA in Digital Film making and get the minors in Business and English? Hope you can help me and thank you very much for reading! :)
  14. Hi, I stopped shooting 4-5 years ago due to a sports injury which lead me to working in another field but now I want to start shooting again and I'm feeling a bit behind in the tech, workflow and rusty in my skills. I'm lucky enough to be visiting LA early next year & I'm looking at the ASC Masterclass. I'm concerned it's not really hands on? Is it? Isn't it? I see they're using the Alexa and going through the most current workflows etc but is it mostly learning through demonstration or are we able to get our hands on the tech, lights & set up some shots? Anyone who's done it got any reviews? What did u get out of it? Can anyone recommend an int-adv Cinematography workshop that's very hands on in or around LA? I don't often get over to the US so I'd really like to grab the opportunity. Thanks.
  15. Ca ptured my french city, its castle and some parts of london in this compilation. if you can, comment if i made a mistake in color correction https://youtu.be/j-Q9LJXMqpI
  16. WATCH VIDEO HERE: So not to long ago I attended a Black Tie Event to create an after movie. I used a 7D (normally 5D) and created this piece. Admittedly I was very strapped for time when editing, however I would really appreciate some feedback. Perhaps the weaknesses of my shots, what you guys would of done differently and how I can improve on in future videos. I am looking to do weddings and more black tie events in the future. T Thank you.
  17. Hey guys, I wanted to gain some more insight from some other freelance DPs on registering as a single member LLC. Mainly what the advantages are, your experiences, or if there are other entity options, (i.e: sole proprietorship, etc) that i should be considering. I have recently become a full-time freelancer and am looking into the best options for me come tax season. I'm not local 600 (hopefully soon,) not sure if union status makes a difference though. Thank you! -Ben Joyner
  18. Hey Guys, I don't really have a vfx background, and it would be fantastic if you could help me out! Attached below is a still (and a link to a video) of what I am trying to achieve. I'm looking to shoot a music video that uses forced perspective (mainly band performance stuff), and I am not quite sure how to go about making it look right. To give a little more context, I'll be shooting with an A7sII camera. My questions are as follows: 1) Did they use a green screen for the people? 2) How do you make the person match with their background? I know lighting is a huge part of it, but I'm referring more to field of video, camera angles etc. Is there an equation that involves the height of the person/building, camera focal length etc. 3) Some of the shots in the video are moving... Is this a fake camera move done in post? Was there a lot of compositing involved? Can this be done practically without heavy post work? 4) I've read that if you're trying to make a person look large, you should film them in slow motion to give the illusion of a large body moving. My question here is with my camera's sensor constraints: I would like to shoot the back plate in 4k for maximum sharpness and better grading (shot full frame), but if I film the individual in slow motion, I'd be working with the equivalent of a super 35 sensor. How can I reconcile the two images to make sure that they visually match? 5) Say I shoot a scene that is back lit: I would have to incorporate the shadow of the person in the shot. Any tips? 6) I need to do this on a small budget: Any tips on achieving a good product cheaply would be greatly appreciated! I know I asked a lot of questions, but I'm having a difficult time finding the information I need online. Thanks for your help! -Sam Link to video:
  19. Hello, I have been trying to research with little success on using projectors and high frame rates. I want to shoot 96 fps. With a projected image in frame. Would an LED projector allow filming at different frame rates/ shutter speeds without having flicker? And also having to consider output of the actually unit to get an image exposed when going to the higher frame rate. Or if anyone has worked with a specific projector that they recommend would be great or any good resources on this would be awesome, I have come up fairly empty handed and talking with some local projector rental companies to no avail. Thanks in advance Zach
  20. Hello everyone, I've been experimenting with the virtual cameras in after effects on a web series that I've created using character animator. Each episode uses different lenses, distances between the background, subject, and camera, angles, and I've even played with zooms and tracking shots. I'd love to hear if you have any suggestions on other ways I can play with virtual cameras and lighting to create some different looks. Thanks! https://www.youtube.com/playlist?list=PL_jlCValHhUxWF1ZsKqrA2O1RIZ8qrufO
  21. It's a long shot, but i figure I would start one for Cleveland. Anybody from the Cleveland or Ohio area?
  22. Hi Everyone This is a great forum and I am delighted to be a member. I run a Tech and Photography blog and have decided to start developing some content for cinematographers. I would be interested to know who you think would be a great guest blogger. Someone that can write interesting and informative articles about the industry and the gear you use etc. Perhaps an article about how they go about their work or even ideas of interesting articles that we can cover. Please take a look at our blog using the link below to see it in action! http://blog.mymemory.co.uk Perhaps there is someone on this forum that would be suitable, any ideas are gratefully welcome. Many thanks - I look forward to sharing with you who we finally get to work with. Christian
  23. I'd appreciate any insight into this mind-boggling issue I had while working on pre-production last week. I was working as Assistant Camera and preparing a rig for the DP, the kit was as follows: Sony A7s, DJI Ronin, Redrock Follow Focus, Atmos Ninja, Radian Pro Transmitter/Receiver. We ran a dummy battery from the Sony and plugged that into 1 of 2 PTAP connections that are built into the Ronin. The other PTAP was used to power the Redrock. Our USB connection was powering the Radians and both the transmitter and receiver were powered by the included USB to included battery packs. Lightweight setup, everything was working fine during calibration... When we powered on the Ronin, both the PTAP connection in the front AND battery unit for the gimbal started smoking. We had a technician on hand, and we quickly powered the solution down and started searching for the source of the extra heat. We had bongo ties that were holding our transmitter to the very bottom of the Ronin (where the battery is). Thinking that plastic from the ties were the issue, I placed velcro onto the bottom of the Ronin instead, and changed one of the PTAP connections for a lighter, shoestring cable. Powered the Ronin on a second time, and both the battery and the GMU on the front motor started melting to the baseplate of the unit, like a hot knife through butter. I have a background in electronics and I have never seen a steadicam unit act like this before. Fortunately, none of the equipment is permanently damaged, but we are left scratching our heads as to why this solution didn't work for us. We don't have a crazy amount of voltage running through the system and the Ronin battery was handling just fine when we were fine tuning the motors. Does anyone have any insight into something I'm missing? Pictures are included of the setup, any help would be appreciated. Thanks all!
  24. Hi everyone, I will start by saying that I have always had a passion about Filmmaking. I have always wanted to go to Film-school but due to lack of funds that dream may never become a reality. On the other hand I believe that anyone can learn Filmmaking but practicing, researching and trial and error. Nowadays anyone can pick up a camera and start shooting. The problem is that it is really hard to find people willing to sit down and teach (mentor) you on some aspects of Filmmaking that are hard to grasp on your own and will make the learning curve and time longer and harder. That's why I had an idea about a Kickstarter campaign that will help me and others learn from people that work in the industry and see the whole process from start to finish, on how a Short Film is constructed. The idea: A kickstarter campaign to raise funds for a Short Film that will also teach and document the steps involved in creating a Short Film: Directing Producing Cinematography etc Part of the funds will be used to pay a Cinematographer who would be willing to sit down and teach his art to a team of 15-20 people in creating a short film (they will also be the crew for the Short Film). This will be done through short workshops and through the actual shooting of the short film. This process will be documented (DVD & Digital Downloads, PDFs or On-Set Pass) and given to potential kickstarter backers as a training series so that they can also learn the process of Filmmaking. Recordings will include: Short Workshops, Discussions on set about Lighting decisions, camera movement, behind the scenes footage, etc). Potential Perks for Backers can also include being part of the crew. I am trying to sort out the cost of the whole process and I would love to hear from potential Cinematographers from here that would be interested in undertaking the teaching of this project. He/She would have to relocate to Cyprus for the duration of the Project. The Cinematographer/Instructor will of course be paid and all Living Costs, Plane Tickets and Accommodation will be included. If I receive msg`s from interested people I will have further discussions with them on how this Project will be constructed, figure out his/her pay, and also figure out a rough budget for the whole Process. Thats is also how the Kickstarter campaign comes into play, how much to ask for the campaign. I will also use personal funds from my own pocket that I have saved. I would like your thoughts on this, any input is helpful, even if it is to say that this is a crappy idea :P Thanks for reading, Best, Alex B.
  25. Hello guys ! I'm going to shoot a short documentary about skaters in the street , so most of shots will be with available light and I will use slr camera . so I need some advice for shooting like camera motion , tips for using available light also rigs also if there is any reference it will be great . Thanks in advance
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