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  1. Hello everyone, I find interesting the work of some filmmakers like Paul Thomas Anderson who seem to be quite knowledgeable about photography in general, but I was wondering if any of you can recall any film directors who are (or were) mostly interested in the content of their work and not so much in the form, letting the cinematographer take full control on the look of the film. Thanks!
  2. Can you believe what made me cut this! - The Music track which i saw on the Davinci Resolve Website. Check out and give me your kind feedback on my shots from few of my feature films ! (apologies for few overly saturated shots-was done for youtube compression) thank you all Rajavel Mohan <iframe width="560" height="315" src="https://www.youtube.com/embed/wivAuZqOHgE" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
  3. For Sale Fujinon Premista 28-100mm T2.9 Large-FF Lens PL Mount Asking $32,000.00In good condition you will get an Inspection period to verify that it is a good working lens.You can call or text me at 917-499-9596 or email me barbara@newprovideo.com...Barbara Holler
  4. The virtual presentation of the 35th American Society of Cinematographers (ASC) Awards for Outstanding Achievement in Cinematography takes place on April 18, 2021. Awards for feature film, documentary and television cinematography will be handed out in seven categories (For a full list of nominees, go here). Writer-producer-director Sofia Coppola will also receive the organization’s Board of Governors Award. The live stream takes place at 12:30 pm PDT. For the first time in the history of the ASC, everyone around the globe will be able to share in the online celebration in their time zone: · 12:30 pm Pacific Time (Los Angeles, Vancouver) · 2:30 pm Central Time (Chicago) · 3:30 pm Eastern Time (New York, Atlanta, Toronto) · 8:30 pm GMT (London) · 9:30 pm Central European Time (Paris, Berlin, Prague) · And on April 19 at 5:30 am Australian Time (Sydney) To tune into the live stream of the 35th ASC Awards, register for a high-quality, HD viewing link via Luma or watch it on the American Cinematographer Facebook page.
  5. Hello, I am looking for a used super 16 package with a PL mount. I'm interested in a SR2 or SR3 or an Aaton XTR Prod. If anyone is interested in selling please let me know! Thanks!
  6. 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!
  7. Seems folks always beat me to posting the interesting stuff, but I'll keep drip feeding these as I think they're terrific and super candid. Rest is copied from the video's description: FEATURING SCENES & COMMENTARY ON - Blood Orange, Dazn, Ferrari, Adidas, Gatorade, Bose, NFL, Asics, Dazn, Michelob, Nemiroff, Tommy Hilfiger, Victoria's Secret and more. In our fifth episode, cinematographer Garrett Hardy Davis chats about the competitive new world of shooting remotely, where to find inspiration, how he got into the film industry, starting a career as a director of photography and behind the scenes of some of his latest projects. GARRETT HARDY DAVIS http://www.garretthardydavis.com/ https://vimeo.com/garretthardydavis https://www.instagram.com/garretthard... https://www.artistry.net/clients/dire...
  8. For Sale Set of 5 GL Optics Rehoused FF Leica Vintage 19,28,50,80 &135 Asking $34,500.00 Add $3400.00 for Duclos 1.7 Expander All in really nice condition.
  9. 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/
  10. Taken from the industry showcase and networking channel of IN / DEVELOPMENT. Got their YouTube here: https://www.youtube.com/c/indevelopment Below is copy-paste, but the links are super interesting and Stephen's insight and honesty is wonderful. The series seems to have just started so might post more if they're great. Can't see anyone else mentioning them before. - - - Joe Douglas talks to fellow cinematographer Stephen Murphy about his professional journey, a few memorable productions and his view beyond the current pandemic. FEATURING SCENES & COMMENTARY FROM - The Favourite, The West Wing, The Moonstone, Hanna, Line of Duty, Years & Years, Krypton, Death and Nightingales and more. STEPHEN MURPHY - BSC, ISC https://www.stephen-murphy.com/ https://www.imdb.com/name/nm1094426/ https://www.wp-a.co.uk/clients/stephe... https://www.instagram.com/stephenmurp... JOE DOUGLAS http://joedouglasdop.com/ https://wizzoandco.co.uk/agency/joe-d... https://vimeo.com/joedouglasdop https://www.instagram.com/joedouglasdop/
  11. Has anyone here shot IR with the Panasonic EVA1? I own an EVA and someone asked me about it, I’ve never had a reason to shoot with this feature but I’m curious as to what situations it would be useful. Or is it something that allows for more creative options.
  12. A rare opportunity to discuss filmmaking with Rodrigo, Prieto, ASC, legendary cinematographer and collaborator with Alejandro González Iñárritu, Martin Scorsese, Ann Lee and more. Event date, May 14, 10 AM PDT. It's part of the NAB Express "Let's Talk Cine" free Zoom program. Info here: https://bit.ly/NAB2020LTC. Just click on the card and sign up using the blue zoom link below the session title and description. Get your questions ready!
  13. Wednesday, May 13, 1:00 PM, PDT - Join DP's Ben Kutchins and Armando Salas, director/camera operator Ben Semanoff and art director David Bomba, ADG, in a live conversation about the Netflix series “Ozark” and learn how they evolved the show's dark, picturesque look in season three. Full Let's Talk Cine/NAB Express program here: https://bit.ly/NAB2020LTC. Click the session card and register using the blue Zoom link below the session description and time. David Geffner, ICG Magazine executive editor, is moderating.
  14. I have 2 Alexa Mini packages 1st Camera Alexa Mini Asking $44,000.00 Hours 1826 Comes with ALEXA Mini 4:3 License Key ALEXA Mini ARRIRAW License Key ARRI Look Library License Key Mini Viewfinder MVF-1 k2.0005861 Viewfinder Extension Bracket Arri K2.74000.0-VEB3 Mini Side Bracket MSB-1 k2.0006348 MSB-1 Arri Center Camera Handle k2.73002.1-cch-2 Arri Mini adptr plate k2.0006347 Arri Mini Side Bracket MSB-1 k2.0006348 Arri CSP-1 Shoulder Pad k2.0006807 Arri BPA-4 Bridge Plate k2.0006352 Wooden Camera A-box 5-Cards 2nd pkg. Alexa Mini Asking $46,000.00 Arri Mini VF k2.0005861 Hours 1195 Comes with Arri Viewfinder Extension Bracket 2-Arri Mini Adapter Plate MP-1 2-K2.0006334 Arri Center Camera Handle k2.73002-CCH-2 Arri Mini Side Bracket MSB-1 k2.0006348 Arri MAP 2Adapter Plate with Rod Support k2.0006347 Wooden Camera Bebop ALEXA Mini 4:3 License Key ALEXA Mini ARRIRAW License Key ARRI Look Library License Key
  15. WARNING: MATURE CONTENT. Speed Date is a black comedy about Jack and Natalie who approach their allocated time together with different mindsets. What could go wrong? [Best with Headphones] Shot on a Blackmagic Micro Cinema Camera + Sigma 18-35mm Lens.
  16. Hello everyone! I would love to get some opinions on the following. Let’s say you’re shooting a narrative, a 10 page dialogue scene over the course of 2 days. This scene takes place in one location, with blocking all in one vicinity. Would you rather A) Shoot 5 pages/day, jumping around to all of your camera/light setups for those 5, or B) Shoot 10 pages/day, shooting out half of your setups like wide, two shot, etc. Theres interesting pros and cons to both; as a DP I jump for the 10 page idea so I can be efficient with setups and time, yet a director might see benefit performance And continuity wise for the 5 page option. Worked on a feature recently where this problem arose, and would love to hear everyone’s opinions and logic.
  17. Hi friends Can you suggest me a subject for thesis about cinematography and television? thank you
  18. Hi people, Would very much appreciate if anyone could shed some light on how this shot was achieved (in production and in post production). I can see its on a periscope camera lens for this shot, but is this just because they are shooting on a large film camera? Could this be achieved without the periscope if say using an alexa mini? If so what type of lens is ideal for this? And I assume the point of view digital tunnel is added in post with rotoscoping around the interior of the goggles first before coming in to full screen. If this is indeed the case can anyone tell me what they are raising in front of the actors face as the camera turns in the second picture? Thanks so much. Please find the clip from the movie (Timecode 00:25-00:32)... Also please find the link to the video showing the BTS (Timecode 00:42-00:45)...
  19. Having recently played games on the PS4 like Death Stranding and Detroit: Become Human that seem to rely heavily on the seamlessness between the in game cinematics and gameplay, I’m curious of the overall feeling toward video game cinematography and how the community feels about it’s future. I remember seeing an article in American Cinematographer about Detroit: Become Human, which first piqued my interest in the medium. Is this type of cinematography other DPs are keeping their eye on? Also, if anyone knows of any resources that are available for someone like me who is interested in the medium but comes from a traditional cinematography background; it would be greatly appreciated if you could point me in the right direction. Thanks, RC
  20. Hi guys, I'm a data manager and a digital imaging technician student. I'm looking for books about dit since a long time. I found these two on internet: Imaging processing for cinema - Marcelo Bertalmìo https://www.amazon.it/dp/1439899274/?coliid=I1MCJA8LDTC8HY&colid=2K966BF7HDL56&psc=1&ref_=lv_ov_lig_dp_it The Filmmaker’s Guide to Digital Imaging: for Cinematographers, Digital Imaging Technicians, and Camera Assistants https://www.amazon.it/dp/0415854113/?coliid=I2JPL1XV8KFXW5&colid=2K966BF7HDL56&psc=1&ref_=lv_ov_lig_dp_it Anyone knows something about these books ? Really appreciated any advise about other books.
  21. Hey everyone, I've been looking for a solid, hands-on introductory class for a while now and I'm looking for some advice, recommendations, tips, things to look (out) for. The program should give me a foundation on which I can build for the coming years. I want to learn the tools and craft, not how to use a particular camera. I've found three solid options so far, and they are: 1- Maine Media Workshops (Maine, USA): 10 week intensive cinematography workshop. PROS: Asked around and this program is definitely solid with some world class instructors. CONS: Extremely expensive. (16k) 2- Global Institute (LA, USA): The foundational programs. PROS: World class program and instructors, located in L.A. CONS: Asked a friend, apparently even the foundational programs are a bit too advanced for someone who's never worked in the camera department. Pretty expensive (expensive at about 10k for a bunch of classes). 3- Afilms (Barcelona, Spain): 3 month Feature Film Cinematography. PROS: Solid program, but not as good as the other two though significantly cheaper. CONS: Starts in a year, that's in quite a long time. I feel like doing this in a couple of months. I don't mind studying anywhere in the world, as long as I can justify it to myself. The class should be technical. I've been curating and improving my eyes for a while now and I'm pretty familiar with filmmaking at many levels, but I want to demystify light (or at least start the process), as I feel it will benefit me greatly as a director. I also feel like shaping light, so being able to DP my own little projects, explore studio photography etc. is something I'm interested in. I'm not under the illusion that I will become a DP after this workshop, I just want to be able to think like one at a basic level, so I can improve myself in the future. Director's showreel if anyone's curious. Thanks in advance.
  22. Hello all, I’d like to get the word out about my book, which is coming out this month. I have been teaching lighting at Fairleigh Dickinson University for the past 12 years and while there are some excellent books on cinematography out there, such as Film Lighting and Reflections, I never found one on lighting that was directed towards film students and cinematographers who were lighting with limited resources. My students found those books inspiring but not immediately applicable to what they were doing on the films they were shooting. I started as an AC, then become a best boy, gaffer, video LD and indie cinematographer and worked on so many different kinds of productions with so many different budgets that I was able to developed a course that was a good foundation for young cinematographers to help guide and inspire them to do creative lighting on a budget. Two of my students have gone on to be accepted into the AFI cinematography program while other students of mine are now working as electrics, gaffers, ACs, camera operators and one is a great steadi-cam op. At a film teachers convention I was approached by an editor from Bloomsbury Press and asked if I would write my class into a craft book that could be used by other colleges and budding DPs. I said I would if she promised they could keep the price down to under $30 – as I know how expensive textbooks can be and how few students will actually buy the expensive ones. While this means I would get a tiny royalty, I didn’t really care, because I wasn’t doing it for money – but rather as a way to give back. I learned so much from so many, it is our obligation to pass on the art and craft that we learned and love. She agreed. The result is "Lighting for Cinematography: a practical guide to the art and craft of lighting for the moving image", now available from Bloomsbury Press and Amazon. Lighting for Cinematography, the first volume in the new CineTech Guides to the Film Crafts. Broken down into 14 chapters with exercises at the end of each, the book is designed to help the reader create lighting that supports the emotional moment of the scene and contributes to the atmosphere of the story. Chapters cover such things as lighting for movement, working with windows, night lighting, lighting the three plains of action and non-fiction lighting and include stills and lighting diagrams from indie budget productions. also my website www.lightingforcinematography.com
  23. I recently came across a well known DP's story on Instagram in which it was seen two cameras were stacked on top of each other. It was noticable that both the cameras had different magnifications (different lenses). I can't help but wonder why he might have done this given that these cams shoot 4k/6k or so, he might as well have just cropped in as required. Would be great if someone with experience could explain why this is done. I have attached a screenshot for reference.
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