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Cinematographer Kanamé Onoyama about his professional journey, a few memorable productions and his view beyond the current pandemic. KANAMÉ ONOYAMA https://kanameonoyama.com https://wp-a.co.uk/clients/kaname-onoyama https://vimeo.com/kanameonoyama https://www.instagram.com/kaname.onoyama/
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Hi Everyone, This is my first post on Cinematography.com but here goes... I am DPing a music video where I will need to create the effect of dollying out from the inside of a doll's house in a continuous shot. The camera will start inside one of the rooms and dolly out of the window, all the way out of the house to reveal the doll's house in full, within the frame. The main catch is that the doll's house will be set on fire from the inside out, so I need a lens that can "reach" far enough inside the house and then dolly out on a slider. I was thinking of achieving this effect with the Laowa 24mm f14 probe lens as it is the only optic that I can find which will keep the slider at a fair distance from the camera and be able to fit inside the doll's house. My main concern is that I will be shooting these scenes at dusk, I am worried the lenses aperture will be too restrictive. Yet I know this lens comes with LED lights on the end, so this might help. I can shoot on either the C300 Mkii or the Canon 5D MkIV with the current options available to me. (I am aware of the crop factor on the C300 as well). Would you guys think that this lens would be the correct choice for something like this? Also, what would be your recommendation for a good motorised slider with enough length to dolly out like this? I will get the chance to test next week but wanted to ask the forum first. I was hoping that a 24mm will not need to dolly back too far to see the doll's house in full. Thanks.
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Hi guys! Here is a new video that I did recently. Happy to be able to share it! I would be glad if you watch it and even more glad if you let me know what you think about it! Hope someone will like it and also hope that someone will give me usefull critic. Also did a Behance project of the video. I'll be glad if you take a look at this too!
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I'd love any comments or critiques on this latest music video I shot. Specs: ARRI Amira 4k 60fps or 2k 200fps Canon CN-E Primes Let me know if you have other specific questions. Thanks! DI
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I'm shooting a music video inside a restaurant with drop ceiling (location) and would like to create practical overhead lighting (like this) to give us more freedom with our framing. In the example above -- it looks like they popped out tiles where they needed light, laid out a large cut of diffusion across several tiles and placed individual fluorescent tubes (astera, quasar or kino?) on each rectangle. What do you think? Can anyone provide any helpful ideas on how to achieve lighting like this on a modest budget? The restaurant also has several 3-bank T12 fluorescent fixtures already installed. I'd like to replace these fixtures with T12 kino tubes but the location is pretty dated and I'm worried about flickering because of old ballasts. How can I tell if the ballast will produce a flicker? I looked around the fixture and didn't find any specs printed on the side.
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I’d love some feedback on a music video I did for my band recently. Part of the music video is a super-stylized noir look, and part of it has a glitchy electric computerized feel. Feel free to comment on the cinematography, VFX, or even the song. Let me know if you think this worked!
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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.
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Hello everybody. I just got my chance do a music video for an accomplish singer. I will be the cinematographer. There are two shots the director wants to get. Fortune cookie is the main element in the video and the story. The director wants to see the shore line filled with fortune cookies as the waves are bringing them to the beach. As an alternative we can use a mountain of fortune cookies at the beach. Since we don't have permit to shoot at the beach and throwing the fortune cookies in the ocean is not possible I am trying to find a way to achieve this by using practical effects. The biggest problem is that we need to shoot it this coming Tuesday. Not much time. I already rented a Laowa 24mm macro probe lens to get some of the shots we need. I was thinking of using this lens and forced perspective to get the effect of mountain of cookies. I am thinking of using a table covered with the same sand from the beach we will shoot. Then make a mountain of cookies on the table. By placing the singer in a distance place I am hoping I can get that shot. It would be better if we had smaller scale of fortune cookies but in this case it will look like a mountain of giant cookies. I am assuming that I can get this shot. How would I achieve the cookies hitting on the shoreline by the waves? The director herself will edit the video and I don't think she can do it in post. I can help her maybe if I can get some advice on how to shoot it. I was guessing that maybe we can do something with greenscreen. Maybe have them swim in a small pool in front of a green screen and some sand. I don't know. If anyone has idea please share it. I would really appreciate it. Thanks in advance.
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(Reposting this with new working links of my references and photos of location cos I couldn't edit the first topic. Sorry!) Hi! I am currently doing preproduction for a music video. It’s a horror themed music video set to reggae music. Half of the music video takes place at night. There’s a campsite scene with a bonfire and the rest of the night scenes are at the woods where the band members are exploring a creepy dark forest and eventually chased by a monster. I would like to ask for suggestions on how to light certain scenes and shots :) I did a lot of research on lighting ideas for bonfire set ups and moonlight set ups and there are various ways to do them but I’m not sure which style can work with the limited gear I have. We’re shooting with a Sony A7SII and prime lenses. Here is my lighting gear: 1x1 Led Light Bi color with softbox and grid (2) - can be battery operated 1x1 led light (medium sized) (2) - can be battery operated Led Worklight Portable led light - battery operated 1 small portable led light 85 watt daylight bulb with china ball Aputure 120D with light dome and spacelight attachments 25 W Beam video led light (2) - can be battery operated Par light (Rgbw, 3watts, 50 bulbs per par) (3) Smoke machine CTBs, CTOs, 201s, ND gel 5 in 1 reflector 2 large styrofoam Basically the first part of the night scenes is the campsite with bonfire setup. The 5 member band will be sitting by the bonfire which will be the main key light with moonlight at the side and the back. I might enhance the closeups with a led light with CTO or orange gel with fake flickering in front of them. I’m not to sure how to do the moonlight at their back. The location looks like this: https://drive.google.com/open?id=1tLfMqZSe8XSW8Z-PVwtNZx7RjOoh0npV My reference for the lighting is this: https://drive.google.com/open?id=1bKG5UMzLXQ85qTShpKMYHUJRu68j6UaN The second part of the night scenes is the band exploring the dark creepy woods with their flashlight and emergency lights. So I’m thinking of having them use strong flashlight so I can bounce the flashlight light with a styrofoam back into their faces while the camera is front of them. And when the camera is from their POV, the strong light of the flashlight would be enough to light the trees (with a focused beam of course) or I can use the the portable beam lights to fake the flashlight light. I haven’t decided yet if the light will only be the flashlight cos I’m thinking I want some faint moonlight in the surroundings as well but I don’t know if it will work. The coverage for these scenes would be medium of them. They are huddled together as they walk so the light will be only concentrated on them. Then there will be pov or OTS shot of them of each other when they face one another. The location for these scenes are: https://drive.google.com/open?id=1BKV7fSi3HqX6D6ESecWEY-UfBksDJgUY My reference for the lighting is: https://drive.google.com/open?id=1P8l0ZEVsnEZglSVuGNgC0b5KjPJorWi1 The third part would be the two last remaining characters dropping their flashlights so the key light would be the moonlight now. The monster (a bloodied haggard-looking woman) would slowly appear to them. The moonlight would be more “visible” or stronger at this point. The last remaining person would run down a hill. I would shoot a shot where the camera peeks through the trees as he runs down. It might be also important to note that the person last standing is half-black. I am planning to have our makeup artist put shimmery makeup on him so the light would reflect his skin. My reference for the lighting is: https://drive.google.com/open?id=14h2bA_yWDlCbj_OCRlSvf9F3YJ1RmPz_ I am not just sure how I will execute the moonlight light as key and background. I’m thinking of using the chinaball with the bulb wrapped in 201 and the ball wrapped in black foil attached to a boom pole and follow him as he walks and runs. I apologize if this is such a long post. If you have any suggestions on how to light the particular scenes and shots I’m not sure on, I would really appreciate it!
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Nice to be able to use equipment like the One-Man-Crew from Red Rock Micro & my Ultra16 Scoopic MS on a music video shoot this weekend. There are so many great tools out there with the DSLR "revolution" but it's fun to use them with film cameras too. This One-Man-Crew is the original version but I've used it with an SR2 before. I plan to do the upgrade to handle heavier cameras.
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Hey guys, :) Thought I'd share this considering there is still a large quantity of us that do jobs with virtually no crew and on a very tight schedule. Shot/directed this music video over a few half days on the Ursa Mini Pro using Rokinon Primes and a Sigma 18-35mm f1.8. Budget was virtually non existent, so it became an exercise in stripping everything back and remaining nimble and flexible. Shot mostly with natural light. However we did use a Litemat S4 and/or an Icelight 2 for some shots. (I froth those litemats) Any critique/thoughts would be much appreciated.
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Shot this one a few hours out of Sydney. Got some great sunrises, Amira + Leicas handled everything superb. We wanted a sharp, natural look that wasn't overly graded or stylized. What do you guys think?
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Hi everyone! I'm shooting a music video very soon and the client is looking for this in-camera effect. Almost like kaleidoscope. I understand there are some type of mirrors involved but not sure how to achieve it. Does anyone here have any suggestions? Thanks, Jonas
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I did my first attempt at directing a music video for an english songwriter in France. https://m.youtube.com/watch?v=vL-DjKGCmEY I shot with a Canon 600D in the forest and mostly shot everything at 50fps to do some slow motion since I thought it would go right with the song. Also played the song at a high speed so that in postproduction the singer would be singing at the right tempo but with everything else in slow motion. Besides the shots from the story, I made my guy sing in a close up, in a mid shot from below, and also filmed the guitar in a close up
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Hi! This is one of my first postings in this forum, but I just saw a music video and I'm really interested in how this project was realised. https://www.youtube.com/watch?v=Tm-50u4qLe8 - How did they manage to shoot in the blazing sun but still being overall perfectly exposed? Do you think that there's much grading involved? - The grain is fantastic! Is this real grain or an overlay? - What lenses / camera / rig do you think was used? The camera seems to be floating like a drone? Or maybe afterwards stabilisation? Many thanks in advance, I'm really curious!
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Hi! First post here , I am shooting a music video in a couple days and i have small budget for this shot , like 100-300 Dollars. I have made a Pre vis of how i want it. I am shooting with a Red , but could go with a gh4 if smaller rig i needed. It's an outsíde nightshot where the camera goes from a closeup from the face and STRAIGHT UP to reveal all the cops. Thanks! /Markus
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Hey guys, Looking to gain some insight on a rigging setup for an upcoming shoot. I have a project soon where we're going to be filming some skateboarders, probably from a pickup truck. My goal is to able to both lead them and track behind them, without having to put the truck in reverse. Trying to achieve smooth motion and would love to get low for some of the shots. I was chatting with a DP (Steve Annis) about the rig they utilized for this video: Here is the info I got from him: -all filmed out the back of a pick up truck with vibration isolator and tango head -for tracking shots: small wooden low platform on the front supported by scaff bars with Boss plate fitting He wasn't able to provide any set photos of the second rig. Does anyone have any pics of something similar? Haven't had any luck online. Just trying to wrap my head around it. Going to also reach out to a couple key grip's I've worked with. Also any idea of what this could be done for budget-wise would be helpful. Budget is low but most of it will go towards a good, safe rig to execute some of these shots. Thank you! -Ben Joyner Some frame grabs from the video:
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Flares are common in music videos. You always see the coming in and out of the frame during performance shots. I know the concept to achieve them is to have a light moving in and out around the edge of the lens to create the flare. I know the lens build also controls the look of the flare. I have tried recreating this with a flashlight a few times, its ok, but I don't get the big beautiful look that I'm used to seeing. I'm curious if there's a specific type of light that's best to use to create these edge flares or not? Any best practice tips in recreating would be great.
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The music video "Begin again" has a stunning bokeh. Which lenses are these, from the bts video? First glimpse of it at :41
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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:
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Hello all, For a class project we were assigned to make a music video. This is what I made, a fan production of the song "Baby Came Home 2" by The Neighbourhood. I would appreciate any and all feedback! https://www.youtube.com/watch?v=gNdpX2hPpyQ
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I really enjoy videos like this. I work on low-budget sets, and stuff like this really just drives me to do even better work, and also inspires me. It's incredible to see how elaborate the sets are, and how it's actually done. If you know of any good behind the scenes like this, feel free to share.
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