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Showing results for tags 'FILM'.
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Love his work. The Limey. Erin Brokovich. Good, good stuff. Love this chat too. Really informative.
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Hi everybody, I've just graduated from the National Film School in Dublin and I'm working on a new website and showreel. All I have at the moment is this facebook page: https://www.facebook.com/StephenCWalshCameraLighting Please check it out, like and share if you can, to help me promote my work over here! Also feel free to comment/critique, I value all insight. Thank you all, Stephen
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https://vimeo.com/66794565 Hello! Thanks for watching my showreel. Pete Smthsuth Bangkok, Thailand // petesmiths@gmail.com -
Say I wanted to film a feature, what would be an estimate for the budget of the Cinematography department? This would include the camera, dolleys, lenses, but most especially - film. Im talking about an indie here. So what would be a good option if I wanna show this at film festivals? 35mm 2-perf, 3-perf or S16mm? Whats a ballpark figure for all these options? Including processing and scanning? How would you edit this btw? Can you use Adobe Premiere or Final Cut? -
Hey guys! So I've been working as a freelance Editor for several years. I miss working on set and as the post market seems to be more and more saturated I want to expand my options for work and include camera as a skill set. And I don't mean video I mean big boy rigs like the Alexa and Scarlett and F55. I've been following The Black and The Blue for sometime. I've had a great deal of photographic experience from college and have been on set as many years as in post. So I feel I can pick up (even as a camera PA I don't need an ego here) in the camera department and become a real asset. My question is this: Where can I meet folks who can help me get an interview? I want to work up to at least a 2nd AC and I think my experience in post would give me an edge in Digital Production. So yeah... I'm super excited about starting in a new department and learning a ton more. Any Advice? Leads? -SM
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I just started getting into super-8 last year. I had an old Canon 514 XLS. Late last year, I started experimenting with Ektachrome 100D for outdoor use. As someone with no experience working with actual film, it seemed like the easiest, most affordable film stock to use for outdoor filming. I had to take a break for a bit, but now that I'm coming back, it seems like this stock has been discontinued. I've been trying to figure out what some other good film stocks would be. Does anyone have any suggestions or even a list of different super-8 film stocks? Since I don't know much about film stock, I've been having trouble even figuring out what I should get next and what I should experiment with. I see Wittnerchrome being mentioned a lot on forums, but, besides being unable to make sense of their website, it seems like their cartridges are going for upwards of $30, which is a pretty big jump over what I paid for Ektachrome. Right now, I'm just looking to experiment and figure super-8 filmmaking out, preferably affordably as possible.
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Hello There, I am an avid gear head and film student. For one of my classes I have choosen to write a research paper on the change from shooting mostly on film to mostly digital or as its called the "digital revolution". I am just curious how prevelent a change it has been on set and overall in the industry for actual professionals compared to what I have been reading. Also if anyone happens to have any good articles on the subject I would be much interested to check them out. thanks, Peter Lyngso -
I have recently been accepted to Ryerson film studies and Concordia for film production and I'm having a rather difficult time deciding. I'm curious which program is considered to be better than the other and what one program offers that the other does not. I need to accept one of them very soon, any insight is useful. Thank you -
Hi Everyone, After buying a fridge full of Ektachrome last December, I now realise I've got too much for my needs, so I've put a few rolls on Ebay UK - item no 300895327438 All the rolls have been fridge stored, since purchase. Many Thanks.
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I'm shooting a short film with a friend this weekend, and we'll be shooting regular 16 on an Arri SRII (it's the last hurrah before her school sells off all their 16mm gear). There's no time or money to shoot/develop/transfer real lens tests, but I want to be sure that we can pull focus off the lens marks accurately. I'm renting the much lauded Cooke 9-50 zoom from a local rental house, and right now I'm thinking I will go in with our camera body, shoot a few feet off a test chart at various distances, and do a slop develop with some D-76. Then I'll set it out on a light table and check focus with a jeweler's loupe. Now, what I'm wondering is--will this actually tell me that the lens and body are all up to spec, or will I just be fooling myself? I was happy enough with this method for picking negatives when I was shooting 35mm stills, but I've never used it for anything that required a high degree of accuracy. Maybe there are other test methods out there that don't require going through the lab? We'll be going to at least a 1080p transfer, and since we're already cropping out of R16 and shooting on a zoom, I don't want to take any chances, even though the lens and body are both recently serviced and well cared for.
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I have recently been accepted to participate in the Canne Film Festival filmmaking program with Creative Minds Company. In the filmmaking program I am put into a group of fellow filmmakers and given a computer, camera, mic, and 7 days to make a film which will then be screened and judged by industry professionals. With this program I will be able to attend in the Canne Film Festival screenings, parties, and its beautiful location. Mingling with A list filmmakers and fellow students as well. http://www.indiegogo.com/projects/canne-festival-funding/x/2847880 Along with my Cinematography reel https://vimeo.com/55330379 and Vimeo account Vimeo.com/capsules Thank you guys so much!
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No dialogue. Simply all visuals, but with a complicated story. Its open for complete interpretation. Let me know what you think after viewing, thanks! http://www.youtube.com/watch?v=pDt-hvWDe1s
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My listing is in the for sale section: http://www.cinematography.com/index.php?showforum=6 -
To all those film stock experts! I have just started learning about film stock at film school BUT we are shooting our first short films soon and need some extra help! I am planning to shoot my film outside at an oval - Potentially simulating sunset for most of the shoot and I was wondering what the best film stock to use would be! I really want to make the most of sunset and dusk, creating beautiful silhouettes etc. My teacher is saying go with 500T, but it could be grainy when shooting later. What do others think? Thanks in advance, Josie -
I am selling off a large part of my 16mm collection. I've got 2 REX-5 bodies, in perfect working condition and super cosmetic condition. Comes with rewind knob and eyecup. $700 OBO. Am also selling off these lenses, also usable on 4/3 (Four-Thirds) sensor digital cameras. Listed are prices for each. May be open to negotiating. Switar Kern-Paillard H16 RX 10mm f/1.6 - $200 Wollensak Cine Raptar 50mm f/1.5 w/ hood - $200 (3x) Switar Kern-Paillard H16 RX 50mm f/1.4 - $500 Switar Kern-Paillard AR 50mm f/1.4 - $500 Yvar Kern-Paillard AR 75mm f/2.5 - $250 Yvar Kern-Paillard AR 75mm f/2.8 - $200 Inquire about the pieces you're interested in. Will sell separately. Can give discounts for buying a bunch of stuff. **I've also got these few lenses that are quite rare, I'm not really looking to sell them but will consider if the price is really right: *Switar MC 10mm f/1.6 Macro *Bell & Howell/Angenieux 25mm f/.95 *Macro Switar H16 RX 50mm f/1.4 *Angenieux Type S5 50mm f/1.5 *Schneider-Kreuznach makro-tele-xenar 75mm f/2.8 If you're in NYC area, we can meet up, otherwise, Paypal (must have verified address). Let me know if you're interested in anything! I have photos of each piece.
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Greetings, I recently purchased two Sylvania Sun Guns, I mainly shoot on the following: Bolex 5120: Super8mm Bauer C5 XL: Super8mm Krasnogorsk 3: 16mm Canon Scoopic: 16mm The Sylvania models are: The Sun Gun I and II models Is there a safe way to use a diffuser with these bad boys? I am interested in the Sun Gun made by Slyvania that is both a flood and spot light. What can these features offer me?? I know these bad boys can get dangerously hot. Is there a way to take a device that plugs into get power into an outlet and make it plug into a portable battery? Also whats the deal with these things: Cine 60 Sun Guns? How would LED lights effect super8 and 16mm filmmaking? I recently held on for a friend who was shooting with Canon 5D or 7D not sure but it was fun and I enjoyed shifting the temperature and viewing the viewfinder of the camera to see the effects when I shifted the temperature knob. I would like some advice and general input from this community.
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Hello everyone, We are planning to shoot a very low budget feature film this summer and I have some questions on the camera set we will use and I hope you can help me on some of the following: 1. The 16:9 sensor on the GH2 + a 2x anamorphic adapter produces a final stretched anamorphic aspect of 3.55. Which would result in (1920x1080)*(2)= 3840x1080. Instead of doing the decompression from 2x, I want to interpret the shot as if pixels would be 1.333 or 1.4587. I know it keeps the image still a little deform but I think I like the look. Whats your technical and/or creative take on it? (SEE IMAGES BELOW) 2. We would project it on standard 2k (2048×1080) DCP cinemas and the final cut would fit into it with a 2048x858 (2.39:1) size movie. Am I right? or does it work in another way? 3. I am currently using Sedna AQ1 for max detail against anamorphic softening against big screen projection. Do you think it will hold enough? Would you sharpen in post? Whats you recommend any other hack? Given this 3 points which would be your opinion on this process? Have any of you seen any gh2 anamorphic content projected in 2k dcp? How does it stand? Thanks for your help! P.D. Anyone selling a Kowa 16-h (8z) In order not to be so limited with the 16D in lens minimum mm´s? -
What was the dynamic range of color film negatives used in the 70's like? If I'm correct newer film negatives can have a dynamic range up to 14 stops. What about in the 70's? For example, how did Eastman Color Negative 5254, 5247 or Fujis 8517 perform at this department?
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Hi all, I'm a film student in Ireland D.O.P.ing on a Super 16mm short in a few months time and am looking for advice on processing and transfer. At the moment I have an assortment of short ends of various stocks (At the moment, almost 200ft of Vision 2 500T, 30ft Eterna 500T and a few more short ends on the way) I am wondering if labs out are willing to develop short ends of different stocks, even very low amounts, and count them all as the one total in regards to pricing. I don't know anything about developing pricing as the last time we shot S16, the college organised stock, processing and telecine. I am also looking for labs in Ireland/UK/Europe that develop 16mm at competitive rates for a student, the budget is low but I am willing to spend to get the look as I believe it is essential for the film. Thanks all. -
Hello all, I'm new here, and have decided to dive right in. Check out a little project myself and some chums shot in the summer. It's about rape and murder. https://vimeo.com/60551788 Thanks, Lucien
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"A young girl's message makes its way into a struggling boy's life" This is the second short film I have made, improving slowly but surely. Written and Directed by Eric Castillo http://www.youtube.com/watch?v=jZ_dT2V0URg&list=UUsTYaGYnM3BUWm49AEdmAjA&index=7
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The 2013 Academy Award® best picture nominees include six movies that were shot on Kodak film: Argo, Lincoln, Silver Linings Playbook, Django Unchained, Beasts of the Southern Wild, and Les Miserable. In the 84-year history of Oscar®, no Academy Award®-winning best picture has ever been made without motion picture film. "We congratulate all of the 2013 nominees for their remarkable achievements,” says Andrew Evenski, president and general manager of Kodak’s Entertainment and Commercial Films Group. “We are honored that so many talented filmmakers continue to choose Kodak technology to tell their stories and create extraordinary images.” Movies made on Kodak film received a total of 56 nominations. In the four acting categories, an overwhelming majority (16 of 20) of the nominated performances were captured on motion picture film. Additionally, three of the five nominees for best cinematography relied on Kodak film to create their compelling imagery, as did three of the five directors acknowledged in their category. Evenski also notes that Kodak is still making billions of feet of film. “Many of those reels will be loaded into cameras that are capturing movies that will contend for Academy Awards in 2014.” Kodak’s Entertainment Imaging Division is the world-class leader in providing film, digital and hybrid motion imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion.
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hello everyone, I'm a final year cinematography student of ftit, chennai, tamilnadu. Within a month, I'm going to do my diploma film, the academic exercise.My director wants a blue tone overall the movie. so somebody give me suggestions to achieve it since i'm a budding cinematographer. Herewith I'm attaching all the equipments i would be provided : Arriflex III, 500T (2 nos), 200T (4 nos), lenses- 24mm-290mm zoom, 24mm, 35mm, 50mm, 85mm, light- 1kw, 2kw, 5kw. I know many methods would be available like using filters and all, but i would like to know the effective method that would be apt for the mentioned requirements. By the way, the diploma genre is a thriller. Regards Kirubanidhi
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Hi guys, I've been following this website for a while now, however this is my first time posting. Anyways, I would greatly appreciate if you guys watched my first project, a short film entitled The OD. Thank you.
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"A young girl's message makes its way into a struggling boy's life" This is the second short film I have made, improving slowly but surely. Written and Directed by Eric Castillo http://www.youtube.com/watch?v=jZ_dT2V0URg&list=UUsTYaGYnM3BUWm49AEdmAjA&index=7
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