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Hey guys, So as most of these post start out, my budget is slim to none. Now that that aspect is out there. Im DPing a short that takes place in a car at night. the two characters in the car are being followed because of something they have and they are trying to get away from whoever is following them. Thats where the "chase" aspect comes into play. Its no James Bond chase scene but need to feel like they are trying to ditch the car following them. The short is only 5 mins long and will take place half in urban/city area but they head to a more deserted beach area. The picture attcahed is the tunnels location we will shoot EXT shots of the cars driving out of the city. So for all the shots of the two actors in the hero car we would have to mimic the lighting to match what our location offers, multiple sodium vapor lights overhead. My biggest question is how I could go about shooting this section of the film to achieve the following... 1. See the actual tunnel when we have shots looking out windows (rear window, side windows, and front windows) 2. Match the lighting of the tunnel as they pass through. Theres the green screen option where we could shoot the scene. Then take those camera setting (lens, focal length, height etc) and then shoot plates. I feel there is alot of room for error with this option We rent a car trailer from uhaul and rig everything and shoot it practically that way. (cant afford a process trailer) Only issue here is the budget is so small i dont think they could get the permits for such a thing, feel like they could get in trouble having actors in a car on a trailer without proper permission, permits, police escorts, etc Lastly we have the actors actually drive the car through this area rig cameras to the car and have them drive safe and we sell the chase part in the edit. Sounds the easiest but biggest worry is safety. There are alot of factors with shooting car stuff. I appreciate you guys taking the time to read this and help out!! Cheers!!

Hi everybody this is my first time on this website and I thought I would share my first serious beginner film that I put together (sorry for the bad grammar). This was filmed in Tempe Arizona for my company Pointblankperformance, all shot on the Nikon D3100! I filmed with the Glide Gear 23inch slider, ePhotoInc Mini Jib, Polaroid Chest Stabilizer, cheap tripod, Ravelli ATD tripod dolly and the Nikon 50mm f/1.8D lens. There were some slight trouble with the editing software (Adobe After Effects) but I thought it came together alright for a small budget film. I would your guy's feedback for my video! It can be anything, seriously I'm new and I want to learn more! Thanks!

Music video looking for cinematographer (as well as anyone else in camera dept.), who has experience shooting super16 and can work locally in central/south Texas. Ideally, looking for someone who owns their own equipment. Pretty tight budget, though me, label, artist are fairly committed to shooting celluloid. It's been kind of difficult finding people who are still shooting film in this part of the country, very much looking for someone I can continue to work with in the future. PM or email (matgerbs16@hotmail.com) for more details. Thanks. Matt

Hello all, So I'm messing around with shots for a film of mine, and I have a scene where a lot is revealed, emotionally (to be simple: a man shoots his brother for the crime this brother has committed). Anyways, my question is: what functions do a pull-back have in a scene? I have it storyboarded to where we have a push-in on the dead body of the brother and then we cut to a pull-back from the shooter (both are iso shots). Any suggestions/comments for this function?

Hello all, As I've been expanding my crew and becoming more involved with just directing actors, I've been looking to buy an external monitor for my BMPCC so I won't have to work back and forth to check shots. My question is, do any of you guys have a suggestion for an external monitor for the Blackmagic that is under the price of $200? Thanks! John

Hello all. I'm a newbie here and this is my team's story: We love cars, we film cars... that's what we do... That's not just a showreel. That's how we live and breathe cars. That's why we traveled to half away across Europe, looking for thrilling automotive stories behind corporate projects or passionate individuals. Thousands of km, countless flights, more than a dozen European countries and piles of HD media fused to an action packed timeline . This is Manos, Kostas and Orfeas; we each created our own personal path that led us to the three opposite edges of a continent, but these paths are crossing every time we feel the need to tell a new story, to create a new project. This is our story combined, this is Kinisis.... Hope you like it!

Greetings, I've been searching this site for days trying to dig up information on the best practices of doing a photochemical project. I would like to do my next project on film, start to finish. I would like to edit workprints, and learn to conform a negative. I would like to go through the process of optical audio on answer prints. I understand that in this day, it is a practice that is generally not done. I am familiar with the D.I. process and how those types of edits get back out to film, but I am less familiar with the analog side of the art. If there is a book (surely?!) or other resource that could help me along, that would be welcome. Please see if my understanding so far is correct: 1. shoot principal on film 2. send to lab for processing 3. get one-line/timed print (this is the workprint) <-- Audio is recorded to 16mm mag stock at this point from origial source? 4. edit workprints to make a complete project 5. create internegative?? 6. create answer print? I don't really understand this A/B roll thing 7. conform negative to final answer print using edgecodes 8. release print struck from conformed negative? 9. I can always have a conformed (or original for that matter) negative scanned if I want to go digital... I'm sure thats wrong. But it's a start. I have access to 2 Steenbecks (16mm), 4 gang syncros, hot splice, tape splice, rewind tables. I own a 16mm projector with optical sound, but it may be mono only? Finally about the cost; processing and workprints seem to be about $50 more expensive than scanning. Thats fine with me. Am I dumb for trying to learn this stuff hands on? Thanks for your help.

Not a very uplifting update from Ferrania. It's beginning to sound like there was very little pre-planning from the start. http://www.filmferrania.it/news/2015/the-domino-effect

Hi there everyone, Just wished to know what kind of circular filter would fit/cover a zeiss 11-110, a super 16 zoom lens? Will a Tiffen 86C from B&H photo video be good enough? thanks

Hey! We're looking for a DP based in London UK to work on a micro budget road movie (Set in the US) that will be shot on Andromeda DVX100, with Elite Letus 35mm adaptor. If the budget allows then we will be shooting on Aaton XTR, S16mm film, or combination of both. Synopsis and more info here: Awaken The Giant Within At the moment we're looking for the right DP and we want to, soon, start shooting some tests. You must have experience on micro/low budget productions and be based in London, UK. If you are interested please send an email with the following details: Cv, camera/tech skills, showreel. Email: info@volitionmedia.co.uk. Cheers

My question is partly technical, and partly just a curiosity: When shooting digitally, has anyone noticed a difference between shooting 23.976, and straight 24.00 FPS. I know this is the nearly negligible difference, but these are two different rates of capture. is there any perceptive change in how it feels or the way movement is perceived? Just some context: shooting a film with some folks that are used to shooting film. The project in mind will end up with some sort of theatrical release however it'll obviously be shot, finished and watched all digitally. If this isn't being printed to film, does NOT shooting 23.98 create an enormous post headache? Final question, is any of this worth exploring?

As I'm about to start cutting my 16mm short, I just wanted to share two pictures that will most likely seem pretty retro but, nonetheless, cool B) Finally put the rewind table together yesterday. And below it is my Steenbeck.

Hello, I'm considering about buying my own 35mm film camera. Pardon if this is a common topic on this forum, but I'd like to get some advice from people wiser than me. The rational reason for owning a 35mm camera would be the duration of the film projects. Because we're not at a professional level and everyone has another job or goes to school, the filming schedule is rather irregular and long. I figured that a rent of 2 months would buy me half of my own camera and anyway at least I would like to make more projects than just one. The lenses would be rental however because they are very expensive and one usually needs more than just one focal length or model. The cameras I'm considering are the following: Moviecam Compact Moviecam SL Arricam ST The Moviecams are about 5000$ and the Arricam ST is 12000£ (a rental house is the seller). Do these sound like fair prices? Is Visual Products a reliable seller (seller of the Moviecams)? To the main point: What I'm looking for is a reliable basic sync sound 35mm camera which is not too heavy for shoulder operation. I would be expecting a couple ten years (or more) of service life. The Arricam would probably be the best choice, as Arri still services them and accessories like mags can be rented from the local rental house for it but the price of the camera is rather high for me. So are the Moviecams a good option? I know that the Moviecams and Arricams both have practically the same movements, but I heard that the electronics of the Moviecams are inferior. However what is unclear to me is that are the electronics of the Moviecams just less sophisticated or really of inferior design or build quality? Also I believe getting a Moviecam serviced can prove to be difficult. Out of the Moviecams the SL would probably be the better choice as it's a bit newer and smaller. But I heard that the body wouldn't be so rigid and thus prone to light leaks. Is this true? Also, is the extra noise (compared to a Compact or ST) a problem when dialogue is recorded while filming? Sorry for the bit lengthy text, but I would appreciate any advice (but please don't try to sell me digital - it's just not the same). Thank you very much for any help and information. Regards, Valter

Hi I'm recently posted for a DP now we're looking to crew-up in several more positions. The project is happening this summer between mid july to mid august tentative dates. Postions: Gaffer's, Grips, Sound recordyst (with own gear), editor's with feature film experience (must be able to handle and 4k and 6k footage, red code. If helps if you are located in Maryland, DC, VA but not necessary. Send resumes, reels, contact info to dvpauditions@gmail.com

I just purchased a Kodak Instamatic M6 from ebay. It arrived in excellent condition, but was not working (the seller did not say it WOULD work) anyway I checked to make sure all the contacts were clean on the battery compartment, and the cartridge compartment looked decent...all in all it looked like it was in great shape. I opened up the auto exposure control battery part and there was only one battery in it and the battery was corroded a bit, so i removed it cleaned out the compartment and left the battery out. (I am going to buy the necessary two replacement batteries for the auto exposure control) The trigger pushed in, but the motor did not sound as if it were running. i pushed it several times but to no avail. (i think i heard the motor run for a split second twice, but nothing else) my friend looked onver the camera with me and we sprayed some contact cleaner on the regular battery contacts just to make sure. the trigger still did nothing. I held the camera up to my ear and heard a low sort of vibration, as if something completed a circuit inside the camera, but i did not push the trigger in...it was doing this by itself. I took the batteries out and it stopped. I came here and saw a forum post of someone having a similar issue and the replies suggested that the trigger may be "stuck" on or defective, or that the drive shaft gear is not working...because its neoprene and probably has broken because the camera is so old. FINALLY, after all that explanation my question is essentially what should I do now? I have a couple cartridges of film so i could pop one in and see if that works (but i dont see how that would change the trigger) or should i try and take it apart and clean the contact with the trigger, or is it the gear....or basically what are my options.

So one day I was bored and I decided to shoot a film all by myself, which meant acting and I'm not that good at it

I got my scanner project working today, still lots of things to figure out but... Maybe the roughest and coolest scanner ever ;) And yes, I can transfer 35mm film in 4K. somewhat B) http://aapolettinen.blogspot.fi/2015/05/making-film-scanner-out-of-konvas-camera.html

Hi All, I was just wondering whether anyone would be able to comment on their experiences with both Cinelab London and iDailies. Ideally, I'm looking for those who have used both companies and would be able to provide some kind of comparison. I understand that the differences between the two will mostly boil down to pricing and service, but I wondered whether their telecines and scans differed at all. (They do both, Cinelab in particular, have a number of option with regards to the type of scan they will give you - HD, 2K Spirit, 4K, etc.) I'd be interested to know also whether people are mainly shooting 16mm or 35mm these days. I am planning to shoot a short up in the North York Moors so if anyone has any suggestions for any labs nearer to Yorkshire that would be great, although I am not sure that there are any left! Thank you all for your help! Cheers, Shahid

We shot some key pieces of this short film using super 8mm. It was pretty seamless but helped add to the effect that you were watching someones real home movies: http://redd.it/34bi0f

http://redd.it/34bi0f

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

Hi, I am a student at Birmingham City University and am gathering some primary research. I am currently writing a short thesis on the idea that film production is moving towards large budget TV series productions such as House of Cards, Breaking Bad and Gotham. This could mainly be due to the way consumers receive their media content online. With the substantial transfer from cinema and TV spectatorship to online streaming and distributors such Netflix and Sky. I wondering whether people agreed there is a significant change from film production to high profile TV Productions in relation to the consumers move towards online distributors such as Netflix? Many thanks, Auberon

Hi, I have some auctions here for some film equipment, on the relevant auctions any serious offers considered either here or through Ebay. Thanks for looking :) Iscorama 54 anamorphic lens with Diopter shooting kit http://www.ebay.co.uk/itm/331532291304?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 Schneider Xenon 25mm F/0.95 lens http://www.ebay.co.uk/itm/331532314535?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 ANGENIEUX 5.9mm F/1.8 Wide angle c-mount Lens http://www.ebay.co.uk/itm/331532325296?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 Nizo Professional http://www.ebay.co.uk/itm/331528562246?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649

Next Generation ASTRA 1x1 Series Also Expands with New Models CHATSWORTH, Calif., (April 9, 2015 )--Litepanels® , a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, has announced the launch of several new additions to their highly acclaimed ASTRA line of LED panels. The expanded lineup now includes the ASTRA 1x1 EP series, the ASTRA 1x1 E series, and two additional models in the ASTRA 1x1 series, which debuted last year. Building on the legacy of the company's original, trailblazing 1x1 fixture, the ASTRAs set a new standard for the form and function of professional LED panels. ASTRA 1x1 EP Series: Ideally suited for independent and field production, the ASTRA 1x1 EP panels offer a light output that is two times brighter than the company's legacy 1x1 fixture. Featuring the Litepanels tradition of a one square foot form factor, the LED panels offer high CRI (Color Rendering Index). The new ASTRA 1x1 EP series includes both Daylight and tunable Bi-Color models. ASTRA 1x1 E Series: The ASTRA 1x1 E series offers entry-level access to Litepanels' state-of-the-art LED panels. Every design element has been meticulously crafted to deliver the form and function needed for the independent content creator. The new ASTRA 1x1 E series also includes Daylight and tunable Bi-Color models, and offers a light output that is comparable to earlier LED panels. With high CRI and a traditional form factor, the new series provides efficiency and versatility at an affordable price point. ASTRA 1x1 Series: To better complement studio operations, the ASTRA 1x1 series has been expanded to include ASTRA 1x1 Daylight and ASTRA 1x1 Tungsten fixtures. Joining the ASTRA 1x1 Bi-Color panel, these fixtures offer a light output that is four times brighter than Litepanels' original 1x1. For studio installations, a full lineup of accessories is available. In addition to studio use, the intensity levels in these battery-powered fixtures make the ASTRA 1x1s ideal for location shooting, especially in direct sunlight. "The response the filmmaking community had to the launch of the ASTRA 1x1 Bi-Color panel last year exceeded our expectations," said Alan Ipakchian, product marketing manager for Litepanels. "The time, effort, research and development put into the ASTRA has produced a panel that once again revolutionizes the use of LED fixtures for the creation of professional content. We've created expansions to the line that offer a variety of intensity levels and price points, making the ASTRA available to everyone. Whatever your requirement, Litepanels has the perfect fixture to fit your needs and budget. And with the modular approach we've taken, your gear, accessories and lighting style can grow with you." All of the ASTRA panels are designed with select premium quality surface mount LEDs that are paired with custom designed TIR (total internal reflection) optics. Both the new 1x1 EP and 1x1 E series offer a Bi-Color fixture, allowing users to adjust color from daylight to tungsten as needed. An internal microprocessor monitors the temperature and delivers smooth dimming from 100 percent to zero with no noticeable color shift, as well as ensuring a completely flicker-free performance at any frame rate or shutter angle. "At Litepanels, we're always striving to deliver for filmmakers," noted Ipakchian. "With the introduction of the new ASTRAs, Litepanels is bringing the most advanced LED technology available to content creators in all segments of the industry. Once people get their hands on these panels - which are sturdy, high-output fixtures packaged in a lightweight, flexible form factor - they're not going to want to light without them." The new ASTRA series employ a modern, modular design. The manual controls are ergonomically designed to allow for ease of use in the field, ensuring easy identification and manipulation of dimming controls, color controls, and power status. The panels are all produced with aluminum I-beam core construction to provide maximum durability and superior thermal management, and also feature strong, integrated aluminum accessory mounting points and lens/filter rails. All ASTRA fixtures offer an extensive list of features, including a curved yoke design with a wide tilt range, dual integrated cable guides, and a combination yoke mounted power supply with a 3-pin XLR locking power connector and optional Gold Mount® or V-Mount battery plates. The yoke also features a removable TVMP connector and additional 1/4-20 mounting points. The ASTRA 1x1, ASTRA 1x1 EP and ASTRA 1x1 E series have taken the place of Litepanels' original 1x1 panels, introduced almost a decade ago, and are now available worldwide. The ASTRA family of products was specifically crafted to meet the needs and price points of users in every sector of the market. The ASTRA EP series starts at $900 (£558), while the ASTRA 1x1 E Daylight is available at the low list price of $665 (£412). The ASTRA 1x1 Bi-Color panel has a list price of $1,500 (£930). For more detailed sales information, please visit http://store.litepanels.com/. More information on Litepanels can be found at www.litepanels.com or follow us on Facebook.

NAB 2015, Booth #C6025 Advanced Battery Safety Technology and Asset Tracking for the Digital Age Added to Latest Releases of Revolutionary Series SHELTON, CT (March 25, 2015) - Anton/Bauer®, a Vitec Group brand and premier provider of battery, charging and monitoring technologies for the broadcast, film and video industries, will be showcasing important new additions to its Digital Battery and Performance Charger Series at NAB 2015. Anton/Bauer's ground-breaking Digital Battery Series, first introduced at NAB 2014, redefines the power standard for a new generation of cameras and auxiliary equipment, while the Performance Charger Series exceeds the high-efficiency standards required by today's rigorous shooting schedules. Anton/Bauer's latest innovations in battery safety technology and cloud-based asset tracking will be demonstrated at their exhibit (booth #C6025) at NAB 2015 in Las Vegas, which runs April 13-16. With production safety at the forefront of the industry's agenda, Anton/Bauer has updated its Digital Battery Series with Fuse Link technology, a new connection technology that vendors developed as a result of Tesla Motors' research efforts. Fuse Link technology provides an added protection circuit within each cell pack, prohibiting damage to adjoining cells if a single cell is affected for any reason by severe impact, puncture or thermal runaway. "The safety of our users is the top priority at Anton/Bauer," says Neal Laneville, Product Manager of Mobile Power for the company. "Our Lithium-Ion Digital Batteries are the safest on the market, and they've undergone a rigorous process of research, design and testing to achieve it. We felt the developments in Fuse Link technology were significant enough to include in our design. If there's any incident with one of the cells, Fuse Link reacts like a giant fuse, isolating that single cell from the rest of the pack. We constantly strive to incorporate the latest technology into our batteries so our customers can handle them without any concern for their own safety or that of their team." Anton/Bauer will also be previewing their new Asset Management System (AMS) at NAB 2015. Heralding a new era of digital asset tracking, the cloud-based AMS is a game changer in the area of fleet management. "The cumbersome tasks associated with battery fleet management will soon be a thing of the past," notes Laneville. "Rental houses, broadcast studios, and news affiliates will be able to track the status of their batteries right from their computers." With Anton/Bauer's AMS, an asset's essential information, including remaining run-time, temperature, voltage, and present capacity, will be just a click away. When an Anton/Bauer battery is placed on a Wi-Fi enabled Performance Charger, the AMS will automatically upload its information to a secure, cloud-based server. All pertinent data required for tracking and performance analysis will be available with a simple user log-in and password. "We're looking forward to demonstrating the important features we've added to our Digital Battery and Performance Charger series at NAB," concludes Laneville. "Safety is obviously of the utmost concern, and increased efficiencies are vital to our customers. There are huge developments continuing in Lithium-Ion technology, and we're looking forward to delivering all of those benefits to our customers." The Digital Battery Series includes three battery sizes (90 Wh, 150 Wh, and 190 Wh), all with Anton/Bauer's high-quality cells that deliver a long performance life. The Digital Battery and Performance Charger Series are now available in both Anton/Bauer's signature Gold Mount® and in V-Mount. Anton/Bauer's Asset Management System will be available to the marketplace as a tier-based subscription in the third quarter of 2015. For more information, visit www.antonbauer.com or call (800) 422-3473.