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  1. For Sale Canon CN20 (50-1500mm) 4K PL Lens (Full Kit) Asking $55,000.00 Only 1.5 years old used approx 10 times and in Very nice condition. This includes a pre sale check out that is already in process. For more information you can Call/Tex 917-499-9596 or email barbara@newprovideo.com I have plenty of pictures only I can't seem to load them on here. So contact me directly and I will send them to you. Comes with Dentz Top Handle Wooden Camera 18’ Array Dovetail Plate D-Tap to Hires Cable Hawkoods Lens Cable Libec Pr Controller Canon 127mm Filter Peli 1600 Case + Lazer cut Foam Lens Sopport Arri 19mm Long Bars Bright Tangerine 19mm Support Bright Tangerine 19mm Leftield Base Plate Bright Tangerine DSMC2 Left Field 15mm Base Plate
  2. Arthur Edeson - The Lost World Casablanca Casablanca China Clipper The Conspirators Arthur Edeson October 24, 1891 – February 14, 1970 All photos from the internet / Fair Use Arthur Edeson's Film list: A Gentleman from Mississippi (1914) The Dollar Mark (1914) The Deep Purple (1915) Wildfire (1915) Hearts in Exile (1915) The Master Hand (1915) His Brother's Wife (1916) The Devil's Toy (1916) Miss Petticoats (1916) The Gilded Cage (1916) Bought and Paid For (1916) A Woman Alone (1917) A Square Deal (1917) The Social Leper (1917) The Page Mystery (1917) In Again, Out Again (1917) The Stolen Paradise (1917) The Price of Pride (1917) Wild and Woolly (1917) Souls Adrift (1917) Baby Mine (1917) Reaching for the Moon (1917) Nearly Married (1917) The Road Through the Dark (1918) Jack Spurlock, Prodigal (1918) The Savage Woman (1918) The Hushed Hour (1919) Cheating Cheaters (1919) The Better Wife (1919) For the Soul of Rafael (1920) Mid-Channel (1920) The Forbidden Woman (1920) The Three Musketeers (1921) Hush (1921) Good Women (1921) Robin Hood (1922) The Worldly Madonna (1922) Inez from Hollywood (1924) The Thief of Bagdad (1924) The Lost World (1925) Stella Dallas (1925) The Talker (1925) Her Sister from Paris (1925) One Way Street (1925) Waking Up the Town (1925) Just Another Blonde (1926) Partners Again (1926) Sweet Daddies (1926) The Bat (1926) Subway Sadie (1926) The Drop Kick (1927) McFadden's Flats (1927) The Patent Leather Kid (1927) The Gorilla (1927) In Old Arizona (1928) Me, Gangster 1928 A Thief in the Dark (1928) Romance of the Rio Grande (1929) The Cock-Eyed World (1929) Girls Gone Wild (1929) The Big Trail (1930) (70mm version) All Quiet on the Western Front (1930) Waterloo Bridge (1931) Always Goodbye (1931) La Piste des Geants (1931) Frankenstein (1931) The Man Who Came Back (1931) Doctors' Wives (1931) Those We Love (1932) Fast Companions (1932) The Impatient Maiden (1932) Strangers of the Evening (1932) The Last Mile (1932) Flesh (1932) The Old Dark House (1932) The Big Brain (1933) His Double Life (1933) The Constant Woman (1933) A Study in Scarlet (1933) The Life of Jimmy Dolan (1933) The Invisible Man (1933) Here Comes the Navy (1934) The Merry Frinks (1934) Palooka (1934) Mutiny on the Bounty (1935) While the Patient Slept (1935) Maybe it's Love (1935) Dinky (1935) Devil Dogs of the Air (1935) Gold Diggers of 1937 (1936) China Clipper (1936) Hot Money (1936) Satan Met a Lady (1936) The Golden Arrow (1936) Ceiling Zero (1936) They Won't Forget (1937) Mr. Dodd Takes the Air (1937) Submarine D-1 (1937) The Go Getter (1937) The Footloose Heiress (1937) The Kid Comes Back (1937) Racket Busters (1938) Swing Your Lady (1938) Mr. Chump (1938) Cowboy From Brooklyn (1938) Each Dawn I Die (1939) Kid Nightingale (1939) Secret Service of the Air (1939) Sweepstakes Winner (1939) Wings of the Navy (1939) Nancy Drew... Reporter (1939) No Place to Go (1939) Tugboat Annie Sails Again (1940) They Drive by Night (1940) Castle on the Hudson (1940) Lady with Red Hair (1940) The Maltese Falcon (1941) Kisses for Breakfast (1941) The Male Animal (1942) Casablanca (1942) Across the Pacific (1942) Thank Your Lucky Stars (1943) Shine On, Harvest Moon (1944) The Mask of Dimitrios (1944) The Conspirators (1944) The Time, the Place and the Girl (1946) Nobody Lives Forever (1946) Never Say Goodbye (1946) Three Strangers (1946) Two Guys from Milwaukee (1946) Stallion Road (1947) My Wild Irish Rose (1947) Two Guys From Texas (1948) The Fighting O'Flynn (1948) Source: Wikipedia I will be honoring Arthur Edeson, along with Mike Wallace throughout with my work for 2024. Mike Wallace May 9, 1918 – April 7, 2012 DDTJRAC <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
  3. "When selecting between the Sony Venice and Arri Alexa 35 or Mini LF for their respective projects, what key factors do DPs consider? Furthermore, could you please explain the differences in terms of look, color, and skin tones between these cameras in detail? Thank you."
  4. Hi I’m a director based in Rhode Island. I’m working on few projects and I’m new to the area. I want to start up few of my projects, but I’m in need of a dp/cinematographer. Also I’m in need of a crew based or near area, to help. I’m looking for long run relationship on future projects. This can be considered passion projects but will pay if necessary.
  5. Hey there everyone! I am a colombian film student and wannabe cinematographer and I am looking for some advise for an upcoming short film me and some classmates are preparing. So I am going to be the DP for this short and in terms of lightning I am looking to have an aesthetic close to the images I attached below for the interior daylight scenes. Logic tells me that to achieve this I should have some strong key lights motivated from the windows on the characters and expose to those bright areas of the face, so everything else will be darker to achieve that high contrast ratio. We´ll probably have like 2 or 3 arri 1000 and maybe like 6 arri 650, it really depends on what the faculty will have available at the time and the budget that production will give us (which will be very, very low). So really I want to have a realistic view of our lightning capabilities with such few lights, can I achieve this look with the lights that are available? If so, what tips can you guys give me to achieve it on an extremely low budget? One of our likely sets is a house with really big windows, so one of the strategies I came up with is partially blocking some windows to control and limit the entrance of light (because it may be too much and spreading everywhere). Am I thinking about this the right way or am I completely off? Thanks in advance!
  6. Hi I’m looking to purchase an arri iic or arri 2c. I’m preferable looking from the range of 300-1000 dollars. also interested in arri 16
  7. Hi Name is Boris I’m a young director looking for a team in creating a film crew. I need a Dp/camera operator. I’m preferably looking for one located in Massachusetts. I shoot music videos, short films, etc. I’m trying to work ASAP
  8. Looking for Dp to join my crew. Ready to shoot music video, films, etc
  9. Hi there! This is my first music video as a working DP in LA and I'd love for your feedback. This was a 2 day micro--budget production shot on an Alexa Classic with Vintage Russian 'faux anamorphic' glass. I had to operate and pull my own focus which made some shots challenging at times.
  10. Hey all, I was recently drafting my personal contract which I was taking from Imagos template contract for DPs. Here is the template: https://www.imago.org/images/pdfs/CINEMATOGRAPHERS/MODEL%20CONTRACT%20FOR%20AUTHORSHIP%20-%20version.22.01.08.pdf . In article 7.2, its speaks to Copyright Collective Socities. I understand the purpose of these copyright collectives, but after some searching, did not find any socities of note in America that cover motion picture professionals. Since this is from Imago, are these Socities more common in Europe than America? Does anyone have any more info on joining a Copyright collective?
  11. Hi everyone, I am just wondering if there are any people out there who are both directing and filming (as cinematographer) their work. And if so, what type of projects are those (short films, documentaries, etc.)? And what is your reason to do so (e.g. budget, more creative freedom, etc.)? Please note that I am not asking for a specific reason, just kind of curious. Feel free to share some examples, could be fun! Kind regards, Jaap P.s. meant to write simultaneously in the topic :P
  12. Hello, I just finished helping a friend of mine with a shoot and the DP on set had two tools with him. One being a light meter and the other one I couldn't figure out what it could be. He would take a reading with the light meter then he would take this tool out of his pocket and a green light would flash and then he would look at it, then adjust the film camera. I thought it could be a pocket camera but I have never seen it before. Just looking to see if anyone knows what this might be. Thanks,
  13. I wanted to know is there any good lighting resource material that anyone would recommend? I know that experience is the best teacher. I'm looking for books or videos to show how to manipulate light to get the look that a director is looking for? Thanks,
  14. Hey guys, I haven’t been on here for a while. I’m looking for some advice. Sorry if this is long winded…It’s been in my head for a while. I’m a Scottish DP based in Hong Kong and I’m thinking about relocating back to the UK & trying to get into production work. A bit about me : I have an undergrad in Film from 20 years ago and about 10+ years experience in the camera side of production…everything from AC to Gaffer to DP but mainly on small productions - loadsa of Short films, Indie Music Vids & tons of corporates. (I’ve shot corporates & Indie stuff in about 12 different countries.) I haven’t shot very regularly for a few years after a back injury took me out & I ended up getting a very well paid job in another field. When I recovered I didn’t want to continue shooting corporate jobs but I have been teaching Cinematography at a Film School part time and that’s fired me up again. I’ve always wanted to work in the scripted TV/Film drama genre but there just aren’t many opportunities here in Honkers for non-locals and I feel like there are no options to progress – I really should have left 10 years ago. I’m single, getting on a bit - 40+, female with no strings attached…no debts etc... So my question : How would someone with my years of filming experience but no real 'industry' experience fair in the UK film production scene? I've lived outside the UK for about 17 years so I’m considering taking an MA in Cinematography partly to acclimatize myself back into the country & partly to network for industry contacts plus I do enjoy teaching film and Masters would allow me to teach college classes if things didn’t work out.... BUT I’m not sure if I should go this route? It’s quite a lot of money to put out…OR …would I be better keeping my money to support myself while I just try to network on my own to get contacts & production jobs. In terms of work I have no delusions of turning up & getting DP work and I would have no prob starting at the bottom of a cam dept or even a rental house, I just want to work in the camera dept with good crews but is it realistic for someone in my position and age to try to re-start a career that's been on & off for 2 decades & what route do I take? Thanks for any thoughts or advice...harsh, truthful or difficult...I'd like to hear peoples honest opinions so i can make an informed decision...
  15. It's a 4-week shoot here in L.A., mostly at one location. Although low budget ($850k), we're a very experienced team, and you can see us here. We've got 15 Emmy nominations and won 4 (The Simpsons, Frasier), and have an Oscar-winning composer on the project. And yes, we know lots of DPs, but they all work at the network/studio level and we can't afford them on this. Also, they're all booked. ;) So we need a hungry up-and-coming DP for our Christmas comedy. Shooting on an Alexa and finishing in UHD. The movie has distribution. This is a character-driven family Christmas comedy. As for style, it would be as though Woody Allen directed A Christmas Story. Longer takes, but with fast-paced farce. Lots of blocking. Excellent cast with great comedic timing. As a director, I'm extremely collaborative with the DP, so you won't be just following orders. I want a creative partner, not someone phoning it in. It's a great chance for someone who wants to (1) get a feature under their belt with a fun, Emmy-winning team, or (2) has been doing lots of drama/horror and wants to cleanse their palate with a witty comedy. Of course there is pay, but remember the $850k budget. Please post links to your reel and I'll look at them all. Many thanks, David
  16. Hello, I'm seeking a DP for a feature film. I'm still putting together many of the moving parts such a named actors, money and locations therefore this director of photography will become part of the package I present to financiers. Ideally, I'm seeking someone who has 10 years plus experience and has at-least 3 films to his/her credits that are theatrical releases. Why is theatrical important especially today you may ask. Good question. Someone who has films continually exhibited in theaters knows what a theatrical film should look like. I'm not seeking someone who can shoot a TV looking movie. I'm looking for a cinematographer who understands how a shot translates when it's project 20 ft height and 50 ft long and the understand lighting and color. Some of the film will be shot under water so knowledge of underwater shooting is helpful especially when dealing with lighting. Also, some very important scenes will be shot at night and I'm looking for less grain in the blacks for my night shots. I understand grain can be cleaned up however the less we have to do in post the better. If it's right when it's shot, it's better in the edit. I'm projecting starting this film in the fall or maybe spring '18. We'll know more once the dust settles. If interested, Please send, IMDB, resume, day rate, and bio. Thank so much. Dt.
  17. Hi, Please take a look at my some of my work. Technical as well as creative feedback would be much appreciated. Thanks in advance. Tanul https://vimeo.com/114125050 https://vimeo.com/153612386
  18. 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.
  19. Hi Cinematography Friends, Just finished my 2017 filmmaker reel and would really appreciate some feedback from the community. Thank you for taking the time! JJ Osbun https://player.vimeo.com/video/215070717
  20. Could it just be that Georgia has a 30% tax credit as opposed to MA's 25%? Lack of top tier talent? I ask because I've recently begun freelancing here and I aim to be a DP someday but I'm having trouble finding any major DP's in the state, commercial or film. They're just imported from NYC when needed. What needs to happen so that Boston can be a competitive city in the film and commercial world? I love this city and I'd rather not move!
  21. hello guys, I reedited and hopefully tweaked my cinematography reel, if anyone’s curious about it here is the link: https://vimeo.com/200803231 Feel free to throw in any feedback/advise, always more than welcomed! thank you :) S.
  22. In the middle of Feb. I will be DP'ing my first feature film. I will be providing my personally owned lighting and grip equipment as well as a RED Dragon cam. I will be lighting the scenes,camera operating, and providing directorial advice to the director. Shooting is scheduled for 3-4 weeks. There is a budget for me to be paid an (ok) rate in installments over the course of those 3-4 weeks. The film will be submitted to bigger studios/reps/investors for consideration of being picked up or bought and being produced on a bigger scale with bigger budgets. In the event that our version does actually get picked up, I assume the the producer/production team is compensated for it correct? How exactly does it work? Is it one payment or is it like royalties? I'm currently typing up a contract that is due in 24 hours to define the terms of work and payments for the project and I want to make sure that if there is backend compensation from getting picked up, that I get covered and receive a piece of that compensation. How should I word this in the contract? Any advice would be greatly appreciated?
  23. In the middle of Feb. I will be DP'ing my first feature film. I will be providing my personally owned lighting and grip equipment as well as a RED Dragon cam. I will be lighting the scenes,camera operating, and providing directorial advice to the director. Shooting is scheduled for 3-4 weeks. There is a budget for me to be paid an (ok) rate in installments over the course of those 3-4 weeks. The film will be submitted to bigger studios/reps/investors for consideration of being picked up or bought and being produced on a bigger scale with bigger budgets. In the event that our version does actually get picked up, I assume the the producer/production team is compensated for it correct? How exactly does it work? Is it one payment or is it like royalties? I'm currently typing up a contract that is due in 24 hours to define the terms of work and payments for the project and I want to make sure that if there is backend compensation from getting picked up, that I get covered and receive a piece of that compensation. How should I word this in the contract? Any advice would be greatly appreciated?
  24. 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?
  25. So I am heavy into interviews and music videos and but I just finished up my short film. I am wondering what type of work people look for on a reel that pleases there eye. Do you guys have any examples or your reel you could share with me? I'll been making my self busy trying different kinds of video work to get better looking stuff.
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