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Hi folks I'm shooting a short film in a few weeks and I'm figuring about a car scene with two actor having a dialog while driving, and how I should go about that. First of all, we don't have much of a budget, so a even though a car trailer would be the optimal choice, we can't afford it unfortunately. Any recommendations of how to shoot this? My initial idea was to shoot this infront of a green screen with tracking marks on set, to take advantage of the existing light. By doing so we could use a hand-held camera to add a sense of realism with the background moving (very slightly) in conjunction with the actors and the car. AFTER we've shot infront of the green screen, we go out and shoot the background plates, at the same camera position we used shooting the green screen shots. I believe this could work. Second idea is to shoot the whole scene in front of a rear projection screen. The problem with this I believe is to get a powerful enough projector and not destroying the black when lighting the actors. Also, lighting the car to blend in realistically would also be somewhat of a problem since we can't use any existing light. Third idea is to let the actors drive the car. By far the easiest way to go, but not the safest. Also, they have to be focused on driving the car, so their acting might suffer from that. Any ideas? I would appreciate it a lot! Regards Patrik

£449 ARRIFLEX 16S + 2 MAGAZINES (8V) + ORIGINAL ARRIFLEX MATTEBOX + ORIGINAL 8V MOTOR + ORIGINAL CABLE Fully working. Just serviced by Les Bosher in South Wales. Pristine and clean inside and outside. Original Mattebox is in good condition. Magazines have some signs of use and acrylic pieces (on footage meter) cracked, but does not affect performance. Serial Number: 6587 £499 ARRIFLEX 16S + 2 MAGAZINES (1 12V, 1 8V) + ORIGINAL ARRIFLEX MATTEBOX + TOBIN TCS TM23 + ORIGINAL CABLE Fully working. Just serviced by Les Bosher in South Wales. Pristine and clean inside and outside. Original Mattebox is in very good condition. Magazines have some signs of use and both acrylic piece (on footage meter) cracked, but does not affect performance. Serial Number: 8467 PLEASE CHECK DOCS ATTACHED WITH PICTURES. CAN SHIP WORLDWIDE. WOULD LOVE TO KEEP THEM, BUT NEED THE MONEY.

AN ESSENTIAL LEARNING AND CAREER EXPERIENCE FOR DIRECTORS, PRODUCERS, WRITERS, AND DEPARTMENT HEADS AT ALL LEVELS. In this Master Class, Quinn will deconstruct Leaving Las Vegas, scene-by- scene, while discussing his process, choices, obstacles, challenges - what worked and what didn't. 10:00 AM Screening: Leaving Las Vegas 12:00 PM Catered Lunch 1:00 PM Master Class 3:00 PM Day Ends Presented in Partnership with LOCAL 600 INTERNATIONAL CINEMATOGRAPHERS GUILD Sponsored by HARBOR PICTURE COMPANY registration: https://www.nymediacenter.com/cinematographer-masterclass/

I want to get my boyfriend a Super-8 camera for his birthday but I have no idea where to start. He is an editor for a film company and in so knows a lot about film cameras and he knows a lot more about Super-8 cameras than I. Basically I just want to know what is the best brand? And how should I go about getting film for it? Any information you think would be helpful, please share. Thanks!

I've posted this scene description on several movie trivia sites as well as old movie forums and such and no one has been able to offer any information. I have an old childhood memory about a movie in which super 8 camera commercials were lampooned. I remember seeing images of this impressive looking super 8 camera that was called something like the "Hamshika Super 8". It was an impressive looking camera, kind of like a Bolex 160, if memory serves, but you saw people shooting with it and a low,husky , sexy female voice whispered the word "Capture!" all the way through the spoof commercial. The final shot in the spoof commercial scene was a crowd of people dropping their cameras en masse in a huge dumpster. I'll have to go back and look at it, but it may be a scene out of an old obscure comedy-sci fi called The Monitors, but I'm not sure. The era would be right, 1966-70 or so. Might be a British comedy, but not sure. Does this ring a bell with anyone?

I am doing a shoot next month and wanna know if there are filters that are more flattering on white skin tones. If there are any gels that are complimentary as far as color please let me know! Thanks!

Hello all -- Posting this on this forum in case anyone is interested. The buy-it-now on ebay is no longer available but I will let this one go for $2799 and end the auction early. It's a real steal at this price and am letting it go for cheap. http://www.ebay.com/itm/ARRIFLEX-Arri-SR3-Advanced-Super-16mm-Film-Camera-PL-Mount-S16-/271279445838?pt=LH_DefaultDomain_0&hash=item3f2983d74e Great camera, but there are a few quirks that are cosmetic don't effect the image quality or ergonomics, but I'd prefer to have a camera in better shape, that is why I'm letting it go. Here is a video of it running recently (9/15/13) : Item is located in NY and will ship domestically. Contact: ekyfilms@gmail.com ---- For Sale Arriflex SR3 Advanced Super 16mm Film Camera All items included with this item are pictured. Besides a few cosmetic wear marks this camera is in working condition. This was recently tested at a camera house (9/15/13) and is fully operational and works as intended and runs smoothly. A video can be sent of the camera running. Included items are: • Arriflex SR3 Advanced S16 film camera body • (2) 400 Foot Arriflex SR2 S16 mags • Arri SR3 Handbook • Light-weight Flightcase • 20/80 Prism For a Videotap (no port cap) Features of this camera include: • 5 to 75 fps • Manually adjustable Shutter angles 180°, 172,8°, 144°, 135°, 90°, 45° • 54 mm stainless steel PL mount • Heated Eye Cup

Hello Everyone, My name is Alex Mitchell and I am an aspiring camera-assistant hoping to hit the ground running after I graduate from my film school (FSU Film) in December. I've spent over 3,000 hours on set working both ATL and BTL jobs on professional and film school sets. I chose to specialize in camera-assisting because it combines my best qualities into one job: a deep passion and knowledge of cameras and lenses, appreciation for capturing beautiful moments (in focus!), and endurance. I read the blogs on this site and I love all the knowledge you all share, and I was hoping if you could share with me some of your knowledge. I plan on moving out to L.A around January 2014 after I graduate and start working as a freelance camera assistant. I already have some connections through my film school but I would like to work someplace where I can connect with other professionals too. I would like to land an internship/job working at Panavision or any other camera rental house. I know they don't just hand out those jobs, but I'm determined to get one. If you have any type of advice for someone like me please let me know. I have a couple of months before I move out there, so I am just gathering information that will help me down the road. My resume is on my website if you'd like to check it out and I'll attach it onto this thread too for your convenience. Thank you for you time and I look forward to your responses. alexmitchellfilm.wix.com/apictureisworth Film Resume.pdf

I have a couple of Arri magazines for sale on eBay. Displacement mags for ARRI 35mm IIC type camera ~ fits most ARRI MOS cameras. They are in excellent working condition ~ never had any problems with jams or scratches. See auction here http://www.ebay.com/itm/231026612284?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1586.l2649 Have one more to sell when this auction ends.

Howdy! New to these forums... So, i found an old Nemo C-200 Super 8 camera at an antique store for $60 and it looks like its in great condition. (even says so on the little tag) It comes with a bag, a box of Super 8 film, the battery holder... I had some questions though before purchasing it. 1.) Do they even make Super 8 film anymore? 2.) Does this particular camera also record sound or just video? 3.) Is it a difficult task to get whatever was filmed on Super 8 transferred to a Mac for editing? Thanks in advance for any info!! -Shane

I saw this rather intriguing post on REDUSER.net and I thought someone who posts here more regularly might have heard similar murmurings. http://www.reduser.n...531#post1123531 I've added a screencap for posterity.

ARGH!!! :o Well, my colleague Andy only paid £109 GB Pounds plus shipping via eBay for a cosmetically fine Beaulieu 4008 ZM II but I also purchased a new cell, a grip/handle and charger at over £100 GBP. After shooting two test carts without any problems (other than feeling a little odd to hold it) the whole camera now seems to have seized up and yet it was sold as tested and fully functional. By all accounts, I'm looking at somewhere between £200 to £300 for a service/repair plus the shipping/customs charges on top of that. So I've asked the seller to kindly refund £50 (and I'll keep the two Tri-X carts that came with it) and then the Beaulieu can sit on the shelf as an expensive paperweight for now. I really do hope that the seller accepts this? I fully appreciate it was cheap to start with but I will push for a possible return and a full refund otherwise. As it's all so disappointing and I've already given Andy back his £123.45 in full. Am I being fair on the seller and will it even be worth even trying to get this Beaulieu fixed later on? Bill

Hello everyone, I'm about to start shooting talks and lectures at my work and there is some money set aside to improve equipment (previously they were only shooting on a handycam). I myself have a canon 5d mark ii, but the problem with this is that it cannot shoot for longer than 15 min. So, I was thinking of using the budget to buy a blackmagic cinema camera, (and maybe the super 35 blackmagic camera), have that setup on a wide shot and then use the canon 5d mark ii to provide additional coverage but not a continuous shot. My question is really, can anyone with more experience than me pick fault with this setup or advise me on a way to do it better. Will there be any considerable quality difference between the two cameras and will this matter as it's going to be compressed on youtube. BW, Alex

Hello, Here i would like to clear some questions raised before starting a new project.. as i shared my equipment i have and the question how to use them for better result.. I am now doing a job for the first time on DSLR and have so many questions and need all the help you all can provide. The gear available to me: 5d3, 1dx Zeiss 14, Zeiss 35, Zeiss 135 (on its way) Fluid head tripod. Lexar 1000x 32gb UDMA 7 card A three year old Imac for editing. Nature of job and crew: I will be going to small villages and shoot lifestyles of people as artistically as I can. I will shoot lots of interviews with audio. I have a focus puller and lighting assistant. I want efficient frill free equipment set up that does the job. However, keeping gear light is not the first requirement, getting professional output is. The edited videos will be viewed mostly on internet and at times projected on a mid size screen. My questions: 1. Do I need another monitor besides the LCD on the camera to check focus etc? 2. Which is the best slider for price for DSLR? 3. Which is the best way to record audio? Do I record on camera or external recorder and sync using a slate? I have a BeachTek DXA-SLR available for free. Is it any good? 4. Should I use Magic Lantern software or original Canon RAW? If magic lantern, then which version? 5. What is the ideal ISO for video? And if not ideal, what is the acceptable range for noise free work. 6. Is 1/50 the only shutter speed to work at or it does not matter? 7. Will my Imac be ok for the edit? I will not buy an Imac now until it is refreshed, but just want to prepare myself on the speed of edit. Thank you!

Film tested and fully functioning with a crystal clear lens: Canon 1014 XL-S £250 GB Pounds Payment by PayPal plus actual shipping cost will be added (please ask for quote).

Homemade Steady Shot System used in VideoClip. Actually shooting long-distance shots from the comfort of a chair! I my newest videoclip I was trying to find a way to create an equipment that will help me get rid of heavy steady camera systems that they actually destroyed my hand and muscles after a while. Also there was no way of achieving the results needed because the videoclip consised of long-walking shots. I wanted to shoot my newest video clip by sitting on a chair and mostly doing it without having to spend a fortune. It is almost as the buyed thing and most important, it was made by our hands. Feels better to work with your own made equipment. Reminds of your passion. I recently directed my second video clip using 100% homemade steady cam systems. I actually achieved shooting long distances without even touching the camera just by sitting on a chair. I want to be an inspiration for young film and art directors out there so this is how I did it. The videoclip can be found here: http://www.youtube.com/watch?v=0Ppj8DtLh14 For Tips and more information about how I did, I will post soon, but you also subscribe to my ever growing subscribers list in which I ofter update with advices and tips. For more information about skoumas please visit www.skoumas.net

Company to Showcase New Offerings and Equipment Sales at Cine Gear Expo Bexel Cine Gear Expo Booth # 98C (BURBANK, CA) - Bexel, a unit of the Vitec Group's Services Division and a leading worldwide provider of broadcast services and solutions, has expanded its selection of camera solutions with the purchase of four Sony F55 cameras, a compatible selection of PL-mount Fujinon Cabrio Lenses, as well as 10 Canon EOS C300 cameras. The new camera packages will be on display at Cine Gear Expo (Booth #98C), which runs May 31 through June 1 in Los Angeles. "The investment in these acquisition formats expands the broad base of Bexel's available camera packages, and ramps up our turnkey solutions featuring leading products from the chief manufacturers in the industry," says Bexel CTO Tom Dickinson. "We have been following the market quite closely, as we always do at Bexel, and know that this is the right time to jump into an extended offering that includes a series of PL-mount cameras." The Sony F55 cameras will play a crucial role in Bexel's new 4K solutions, and their capabilities for providing camera packages that augment any major sporting event or live production, while also providing clients with an outstanding HD source for various broadcast television projects and other high-end programs. Bexel will offer a full suite of accessories with the camera, including the AXS-R5 RAW recorder, which enables incredibly precise 16-bit linear RAW in both 2K and 4K. To complement their new Sony F55 cameras, Bexel has acquired eight Fujinon PL 19-90mm Cabrio lenses (ZK4.7x19) and PL 85-300mm Cabrio lenses (ZK3.5x85). These premier PL-mount lenses provide a film-like look, and are easily scalable to enable full 4K production. The Cabrio lenses feature a detachable servo drive unit, making it suitable for use as a standard PL lens or an ENG-style lens. Bexel anticipates that the ability to extract sharp, crisp, high-resolution 4K images from a zoom will be especially desirable for live sports broadcasts. The Canon EOS C300 with the EF-mount provides users with the ability to give a project a variety of looks, as it delivers an effective and cost efficient cinema-style look that is ideal for reality programming, field acquisition, and the enhancing of high-end video production. The Canon's Super 35mm CMOS Sensor, DIGIC DV III Image Processor and XF Codec augment reality show productions at a very cost effective price point. Dickinson adds, "We're very pleased to be expanding the range of our camera lines. The Sony F55 is going to give our clients great shots that look like film, and the ability to be more creative. And on the 4K side of the spectrum, particularly when paired with the Fujinon PL Cabrio lenses, the F55 provides a larger image for 4K production. We also have a whole range of customers who will benefit from the flexibility and affordability the EF-mount Canon EOS C300s offer in augmenting a variety of video productions." Also at Cine Gear, Bexel's Technical Sales & Solutions division (Bexel TSS) will be promoting its portfolio of new and pre-owned gear. Bexel TSS is the leading dealer of professional broadcast equipment sales, boasting a multi-million dollar standing inventory of the latest audio, video and fiber equipment. Bexel TSS recently became a premier reseller of DiGiCo's broadcast digital audio consoles, and will showcasing the DiGiCo SD 11 at the booth. The company is planning a summer sale at its Burbank headquarters on June 7. Expo attendees can preview a selection of gear that will be available for purchase, as well as inquire about other equipment sales and rental needs. "Having everything under one roof makes Bexel the go-to resource for rentals and sales," notes Joyce Bente, director of sales for Bexel TSS. "We are thrilled to be able to provide more resources to our customers, including increased support and the ability to leverage all our products to meet their demands." About Bexel Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers - including producers of the biggest and most important televised events in the world. For more information, visit www.bexel.com, and follow Bexel on Facebook (https://www.facebook.com/BexelBroadcast) and Twitter (@Bexel). About the Vitec Group Capture the moment For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com. # # # Media Contacts: ignite strategic communications Lisa Muldowney - 760.212.4130 / lisa@ignite.bz Sally Christgau - 415.238.2254 / sally@ignite.bz

Ok, somebody needs talk to me about this. An open source 4k cinema camera. I believe they'll be releasing the plans this summer, and perhaps selling prototypes. http://axiom.apertus.org/index.php?site=alpha I've been wondering when the open source hardware movement would find its way to the camera world. I'd be amazed if this project didn't flop (the beta version they want to sell via kickstarter seems more like an interesting paperweight than a working camera), but man, I would love to beta test. Perhaps someone else will pick up where this group leaves off. So. The topic is, will you someday be building your production camera out of off the shelf parts, like a PC? My position: it will be possible, but it'll be more of a hobbyist pursuit, and the heir to Epic, Alexa, etc will have features the home builders still can't touch. Perhaps there will be a few models developed (like Redhat Linux) that are more widely adopted in professional applications. The first professional cinematographers had to build their own cameras, y'know...

Hi there, I am currently creating a research project for my final piece at university on the evolution of the cinema camera and how cinematographers deal with the ever changing technology. In particular the transition from 35mm celluloid to digital. I am looking for people who have worked with film stock and digital and wish to answer a set of questions I have prepared. The questions below have been sent out to various D.O.P's and also camera companies such as Arri, RED and Panasonic. During your time in the film industry, what do you believe to be the main changes in the technology used, especially in regards to the shift from celluloid to digital? What do you think the benefits are of digital cameras? Do you feel celluloid is dead? If so, do you feel moving away from celluloid is a good idea? If not, then why do you think this? What do you prefer yourself, celluloid or digital? Please explain your as detailed as possible. When you started out in the industry what camera were you using? How does this compare to what you are using now? Do you feel the digital age of cameras has opened the door to younger filmmakers due to the technology being cheaper? On top of asking D.O.P's themselves, I also want to open these questions up to various forums and find out what the community thinks in regards to celluloid vs digital. If any of you would like to answer the questions above (you dont need to answer all of them if you dont want to) then that would be brilliant and I would be very grateful. Also, if any of you have any other points that you wish to make in regards to the evolution of the cinema camera then please feel free to comment. Thank you for your time. Alun.

The fact that I'm creating a topic of this nature may come to a surprise to many of you, but I feel it's necessary because I'm getting at least three different answers based on my own research. 1) Wikipedia: http://en.wikipedia.org/wiki/16_mm_film#Super_16_mm WP states the camera aperture is 12.52 by 7.41 mm (0.493 by 0.292 in). This gives us an aspect ratio of 1.6884:1 (1.69:1). Unfortunately, nothing is cited clearly in that article (shocker!). For an interesting twist, the entry also lists regular 16 mm as having a height of 7.49 mm (0.295 in). I thought Super 16 just extended the horizontal dimensions of the format, not also shrink it's vertical dimensions. 2a) Arri: http://www.arri.com/camera/film_cameras/16_mm_film/arriflex_416416_plus.html (click on the "Technical Details" tab) 2b) Panavision: http://www.panavision.co.uk/pdf/downloads/equipment-info/other/formats-guide.pdf I lumped these two together because they both cite the same specifications: 12.35 by 7.49 mm (0.486 by 0.295 in). This gives us less horizontal resolution than what's listed in WP's entry, but now matches the height of regular 16 mm. We now have an aspect ratio of 1.6475:1 (1.65:1). 3) Kodak: http://motion.kodak.com/motion/uploadedFiles/Kodak/motion/Hub/eb/choices/Choices_INFOGRAPHIC.pdf You'd think these guys would offer evidence corroborating with the camera makers, but they say it's 12.42 by 7.44 mm. Their Super 16 "Sell Sheet" (http://motion.kodak.com/motion/Products/Format_Choices/index.htm ; click the Super 16 mm tab) at least confirms that regular 16 mm is still 7.49 mm in height. Their Super 16 film dimensions calculate to an aspect ratio of 1.6694:1 (1.67:1) which is the closest match to the often touted 1.66:1, in my opinion. So we're left with three different physical descriptions. Which one is correct? What does SMPTE, ANSI, and/or ISO state for the record? (I'm not a member of any so I'd appreciate it if those who were could chip in.)

Hi. Most of my narrative films are shot on RED camera´s. I have a job where we might shoot on Arri Alexa camera. I heart that post production and color correction is easier with Alexa. Any in here with great experience with the Alexa workflow:-)? Best, Henrik A. Meyer. www.henrikameyer.com

Hi all, I am looking to buy a camera and I want to know what camera I should take a look at. I've heard a lot about the Canon 7D, RED, etc. But I want to be sure. I am looking for a camera that doesnt require much color correcting, used in music videos and feature films, stop motion, good battery life, etc. Any ideas ore recommendations? As far as equiptment, what would you say a filmmaker should always own? Lighting, etc Thanks!

I'm looking to buy a super 16 package in great condition and working order, any one of the following camera kits would be amazing - AATON XTR PROD or XTERRA or ARRI SR3 or ARRI 416. I need the kit to be usable straight away once a lens is added - so no spares or repairs. If anyone knows of any for sale please let me know, other s16 kits considered as well as long as they are ready to shoot once a lens is added. I'm working on a small budget. Thanks, Ian

With a crystal clear lens and everything in excellent condition. A lovely example for £200 GB Pounds plus the shipping.

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