Search the Community
Showing results for tags 'FILM'.
-
"Donnie Darko" cinematographer and ICG Local 600 President Steven Poster, ASC, will present a master class in cinematography at IFP's Made in New York Media Center in DUMBO on Saturday, November 15, 10 am to 3 pm. The film "Donnie Darko" will be screened in the morning and after lunch, Steven will present an overview of his collaboration with director Richard Kelly. Steven will also share his secrets about how to persevere and flourish in the film business. When: Saturday, November 15 10 am to 3 pm Where: IFP's Made in New York Media Center (DUMBO) 30 John Street Brooklyn, NY 11201 RSVP here. http://nymediacenter.com/events/event/?id=242651E3-8495-4F0B-A94FEC84FA3E2750&slugid=masterclass-with-steven-poster-asc-donnie-darko -
The director and I took the concept of B - Horror Films and many horror films from the 80's as an inspiration for the film, and then thought what if we did what Grind House films do (Double Feature), but with music videos instead. We shot on 5219 Pushed a stop for the grim reaper sequences and Canon C300, I wanted to embrace the idea of contrasting the formats within the story. The concept came first and then we asked a variety of bands and ended up with four. In order: White Lies Casket Girls PTA (People's Temple of America) Sleepy Cheese I would love to hear your critiques on the music video. Thanks and Enjoy! http://vimeo.com/110548281
-
Myself and John Holland will be taking a tour of Cinelabs, one of the two boutique film labs in London, on the 13th November to see their recently revamped facilities. If anyone would like to join us you'd be more then welcome, please let me know here and I'll add your name to the list.
-
Hi there everyone, Greetings! Looking for inputs from senior and experienced Cinematographers as to how best to water proof a camera and the lens. The camera in question is an SR3 to be used for prolonged use at sea, but certainly not underwater. Is a splash bag good enough? how do you cover the lens front element from salt? regards
-
Hi, I've got for sale standard 16mm camera set, including lenses, cables, filters... all fitted in Peli case. Camera is in fully working condition, I have used in only occasionally. The last user, had it got serviced in Bolex, Switzerland (in 2009). Camera is equipped with normal 16mm gate, bolex bayonet mount, in-camera filter holder and TTL exposure meter (till ASA 640) What's in set: Bolex EL 16mm camera mark.II Kern Vario-Switar compact zoom 17-85mm T3,8 Angenieux 15mm f1,3 Bolex bayonet - C-mount adapter (2x) C-mount - Arri Standard adapter gelatine filter holder (4x) battery cable 4pin XLR (2x) Peli case Price is €850 + shipping I'm located in Slovak Republic, and ship to E.U. and U.S.A. Photos: https://www.flickr.com/photos/91204852@N05/sets/72157648786143401/ 16mm footage:
-
Hi, I've got for sale standard 16mm camera set, including lenses, cables, filters... all fitted in Peli case. Camera is in fully working condition, I have used in only occasionally. The last user, had it got serviced in Bolex, Switzerland (in 2009). Camera is equipped with normal 16mm gate, bolex bayonet mount, in-camera filter holder and TTL exposure meter (till ASA 640) What's in set: Bolex EL 16mm camera mark.II Kern Vario-Switar compact zoom 17-85mm T3,8 Angenieux 15mm f1,3 Bolex bayonet - C-mount adapter (2x) C-mount - Arri Standard adapter gelatine filter holder (4x) battery cable 4pin XLR (2x) Peli case Price is €850 + shipping I'm located in Slovak Republic, and ship to E.U. and U.S.A. Photos: https://www.flickr.com/photos/91204852@N05/sets/72157648786143401/ 16mm footage:
-
Total novice here preparing to shoot a short film on S16... Quickly looking at these film grabs of Christopher Doyle's work makes me wonder how he controls the two color palette across almost the entire film... int/ext shots. Film-Grab.com: Fallen Angels (green/red) Happy Together (cyan/yellow) Days of Being Wild (blue/green) In the Mood for Love (blue/red) 2046 (blue/red) I think he uses Tungsten so my amateur question is whether he is mainly controlling color by gels, set design, or color grading in post. Or all three. I'm wanting to have similar control of color in my film and not sure how to achieve it. Here are some more specific examples/questions/curiosities: 1) green clock with red lights coming in through window? 2) how does he flood everything with green, the stock? post? but the red helmet and light seem unaffected, how? 3) red/orange hair with surrounding green? is that just a gel on her hair with barn doors or flags to not get the curtain? (her hair is a blonde wig) 4) how is there so much green in this image? post? 5) yellow light coming through window? green light in background? warm light on face? are these all gels? 6) In Happy Together is has the cyan/yellow look and I understand it is much more possible to control this with all the interiors... but how does he do it with the day exteriors, obviously that is not natural color. Is this just post color grading? I could go on and on... but I think this shows the lack of knowledge at hand and what I am trying to learn about. Thanks ahead to all those who chime in! -
Hi, does anyone have a manual to the CP GSMO 16mm camera?
-
Title: Learning From Hollywood - Architecture and Film Author: Hans Dieter Schaal ISBN: 3 - 930698 - 70 - 6 Link: http://www.amazon.com/Learning-Hollywood-Architecture-Hans-Schaal/dp/3930698706 Hi all, I have finished the book above mentioned and it is a quite interesting point of view on Architecture and Film and how architecture is designed on movies to create moods together with the help of the cinematographer. It might be something that cinematographers might not consider reading but it is a very small book - 120 pages - and it is very well structured. We can find chapters on Houses, Streets, Light and so on and I would say that if you can get a copy in your local library or you can get it online, flick through it because it is really amazing. I found that some of Hans Dieter's point of views are a bit old fashioned or very architectural related - for example, he writes that streets are always negative forms as opposed at buildings - and although I don't agree with him on some points, it created a new box in my mind where I can throw things regarding architectural aspects of the process of my cinematography development, and that is always good :) It contains several examples of movies that are the paradigm of architecture in cinema, and quite a lot of images too, from M to Viridiana, etc, etc. A good reading for a weekend if you don't have anything else to read! Highly recommended! Have a good day! -
Greetings, Selling my trusty Arri SR3 package. A++ Excellent, with recent service records, both camera and mags overhauled at TCS (tcsfilm) in NY in July 2013. Ready to go. Camera body (3) mags charger long and short finders 1:78 GG long rods 2 handles handgrip XC-75 video tap (b&w), with prism Transvideo Rainbow 5" monitor (2) barneys Single frame remote Asking $3500. PM me if you're interested. Thank you, Martin
-
I’m sort of new to cinematography. I’m hoping to achieve a certain look or at the very least come close it. I plan to upload this mainly online for now (like youtube and vimeo). I know what I’d like to have as an outcome, just not sure specifically what I might need to do to get there. I’m looking for more of a style used during the 90’s for music videos. They, I assume, were filmed with film camera and not digital, so I’m aware of one part of that solution. I figured if I shoot digital in 24 fps, somewhere around 720, that I might be able to get close to the look I’m looking for (plus whatever sony vegas or premiere can provide me for filters). I have examples so that anyone with sound advice can understand what I mean in a visual sense. http://www.youtube.com/watch?v=SWDazyPyjts (Redman “I Can’t Wait”) http://www.youtube.com/watch?v=CMJH2XWBQGU (Nas “The World is Yours Tip Mix”) http://www.youtube.com/watch?v=ehT_R-Vd6Nk (Da Youngstas “Mad Props”) http://www.youtube.com/watch?v=gOppDnMIIak (Extra Prolific “Brown Sugar Directors Version”) http://www.youtube.com/watch?v=DIWH2xc9yKk (Camp Lo “Luchini”) I put up a couple of links to give a better view of what I mean, from mid 90s to late 90s. I’m aware I’ll need a dolly, tripod or some kind of stabilizer (I don’t plan to get any of the big production cranes). Other than that, not sure exactly what I would need to do to get the closest to that quality (besides lighting techniques).
-
I am selling 9 rolls of 5219 (400' rolls). The film has been properly stored and all the cans are sealed. Asking $1,500. If you are interested please email me at: adam@adamcohendp.com -
Hi everyone I am sorry if I brought such a subject which has been discussed I guess so many times which is Film vs Digital, I don’t want to discuss the technical aspect I want more to see your opinion about the evolution of cinema and how tools can help doing this I watched recently the THR (The Hollywood reporter) roundtable (Cinematographers) you can watch in the link bellow. And they started as usual praising Film, which still looks better than Digital until NOWDAYS and I am sure Digital will surpass it in the next decade. And I can quote some what they said: Bruno Delbonnel “we are going from watchmaking if I may say so, an ArriFlex Camera or a Panavision Camera were like a Swiss Watchmaker, it was really precise, it cost a fortune .. $300k and now we gonna use camera which gonna be $2000, the problem is It’s an economical decision it’s not an Artistic decision, ….. “ With all my respect to them, First off, I don’t know if the guy has a clue about Digital cameras prices or he is comparing Film Camera to Panasonic DSLR’s !! And something that we really have to know, is it really just about money? Or Cinema/video tools have to evolve to give us better tools in the future that we can use to better tell stories ? If you watch the Roundtable, you find a lot of opinions regarding Old vs New tools which is for me a kind of “Orthodox” traditional way of thinking, that some of the Great Cinematographers still believe in, not just in this roundtable but in general, I would like quote some other things that have been said (About lenses sharpness, film grains, look, 3D,…) but I guess the post is long enough to mention this here. And I hope I can discuss this in details if people are interested To put it in a nutshell, Are we supposed to take care of Digital, evolve it in way it can be better than Film and even to Mimic Film for Film look lovers, or still praising film until the end of the days? Regards
-
Hello, my name is Ryan O’Rourke. Full disclosure, this job I would like to create with some of you may not yield income..but rather fun and experience. I am looking for 3-4 people who are interested in creating quality film and hopefully building an interesting brand. I have started a project called Sixty Second Journeys where we interview different people and try to capture an interesting thought, message, or story. The goal is to create something thought-provoking, relatable and digestible. Each interview will be a total of sixty seconds long to remain digestible and leave room for thought. Here are two examples. https://www.youtube.com/watch?v=SunUN-xMans&list=PL3n-ZkL0NiCIb1Q8hhaNFRcz7dvi5CPx3 http://youtu.be/FrePjJzeaRA We want it to be similar to the page “Humans Of New York”… but in a video format. In the end I would like to have a team of 4-5 people. I don’t want this to become a stressful thing for everyone and with a team of 5 we could all individually aim to create one video a month. This would mean together we could create 5 videos a month and we could post one video a week to youtube. Why do this? You will be able to network with other cinematographers like yourself and learn together. It’s great practice filming and editing. These films are great for a portfolio IF WE CAN BUILD THIS INTO SOMETHING SUCSESSFUL this list will grow exponentially. If you would like to join the team send me an email here rugglesfacebook@hotmail.ca (not very professional, I know Haha) Hopefully we can build this into something interesting together! -
Hi everyone, could you help me out and tell me if there are any shops/sites online that offer processing services to countries worldwide (in my case, Singapore)? Thanks!
-
Hello, there! I'm a 16 year old director, and have just gotten into cinematography. I'm beginning to develop a style of moving the camera during intense scenes, and framing wide shots by focusing mostly on the background. Please take a look at my latest short film, "The Lake", where I use these principles to heighten the suspense and tell the story. John W. King
-
I hope this my first post is in the correct place!. I have been given an old Hanimex projector and have got it working, but the take up spool does not revolve for some unknown reason. It has the belt attached but does not turn, everything else seems to be working fine and the pictures are ok, so I must be missing something. Can anyone give me a clue please as I would really like to completely restore this old machine to fully working order. Any information will be gratefully received. Thanks, John
-
I heard from a little birdie that Kodak film cement has recently been discontinued? Does anyone know if this is real and can anyone confirm this? I guess this means the end of negative cutting and cement splicing huh... Unless there is another company that makes film cement that I'm unaware of?
-
This is my first time to come to this forum, nice to meet you! I have a question about a monitor to be set in a film production. I have a 27-inch monitor, how can I set up the monitor steadily so that it is easy for the director to view it? I am looking for this type of monitor case (photo attached), however there is no products for 27-inch monitor. So, I want to ask for any suggestion or experience of setting a large monitor in a film production, and hopefully there are some photos for reference, thank you so much!
-
I just found out that Film Source LA have no 16mm short ends on hand, and virtually no 35mm short ends, whatsoever. They recommended Comtel in Burbank, but the owner there wants to sell his short ends for about $10 less than what Kodak charges for new film. I was literally quoted $150 for a 400 ft. roll of Vision 3 50D stock. Kodak's price is $160.80. Does anyone know of a good source for short ends? Looking for a place that tests the film with a densitometer, and doesn't keep old stock on hand for years at a time. -Jerry Murrel Little Rock, AR
-
Hello, I just learned that Kodak has discontinued making 200' loads of 35mm film. I have an Arri 3C with both 200 and 400' foot mags. However, I would like to continue using my 200' mags. How can I best make 200' loads from say 400' rolls? I have a set of rewinds. Can the film stock be rolled off and used without rewinding? Thanks! Steven -
My name is Max Normandin, and I've ALWAYS wanted to become a filmmaker. The problem is, I suffer from panick attacks and a pretty severe case of social phobia. I don't get out of my house often, and I certainly don't surround myself with people. Which makes it pretty darn hard to make movies... This is the story of how I went ahead a shot a 25min short film all by myself, with no crew, using family members as actors. I don't know if this is unusual or not, but I think the quality of the final product, given the very limited ressources I had, might be uncommon.
-
Hello , I'm looking to work with a DP or Cinematographer that works on film in Los Angeles for free to learn more in the field. I have been working in the film industry for 11 years. I started in NYC and been living in Los Angeles for the last 3. I'm looking to learn more on film and get more experience. I have worked on digital a lot, RED, ARRI ALEXIA, Blackmagic, Canon 5D and 7D, Sony and worked on super 16mm in the past. I was lucky enough to work on 35mm twice in NYC 8 years ago. I want to learn more and get more back into film and looking to meet new people with that experience. Thanks and I really love reading the blogs on here and love making films. Experienced in loading, building, and AC work, also operating. -
Greetings, I am DPing my first feature film, it starts production in about a week. I am looking for advice or tips from DPs that have shot a feature before. This is a dialogue heavy film with lots of conflict between main characters. I am looking for any kind of advice on shooting dialogue scenes, communicating with your crew on set to be more efficient, clues on making sure you have coverage or just anything you wish you would have know going into your first feature. I know it's broad, but if you have something I would love to hear it. Story Summary As protagonist, Anna, cleans out her childhood home to help sell it, she stumbles upon a tiny mailbox full of letters from a mysterious childhood pen-pal. Anna originally discovered the mailbox growing in her garden with a letter addressed to her when she was 10. Heartbroken and angry about her parent’s impending divorce, Anna found catharsis and comfort in reading and writing letters to her new friend. 25 years later and similarly broken, Anna once again finds solace in the letters and embarks on a journey to find the true identity of her mystery pen-pal. But what Anna discovers is the last thing she expected to find. Thanks All! Marcus
-
Hello fellow cinematographers and film makers! If I could borrow 3,750 frames at 24fps of your time to review my new reel. It would mean a great deal to me if you could offer some critique afterward. I'm in the middle of a huge push to take my work and career to greater quality and new opportunities. Any feedback would be greatly appreciated. I would be happy to return the favor. Thank you and happy shooting! Alex www.alexfuerst.com
