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Good day everybody! I want to invite you to take a look on "the Craftsman" - a 7 minute short movie I shot last year in Milan, Italy. It is a student's (director) project! I would appreciate your thoughts on the movie and my work. Please find it here: http://www.super16.it/2014/05/14/watch-the-craftsman-online/ (There's an english sub'ed version under the original italian) Thank you all.

Hi all, I'm brand new to this forum and happy to have discovered it! This is a little project my wife and I did together; a spec commercial competition guest judged by Merlin Crossingham, Creative Director for Wallace & Gromit & Peter Jackson, of, like, everything (but mostly known for The Lord of the Rings, Hobbit, and The Adventures of Tintin), among others. We are in the early stages of starting a commercial production company, and as part of a contest, we were challenged to come up with a film based on the theme of "Happiness" for an English company called Sofa.com (they also have locations in Paris and NYC), so we went to work, made a 30 second spec commercial, starring our son and dog, and we were thrilled and honored when our little film made the short list of 12 finalists. We would love to get some feedback from this crazy talent pool here and while the winners are going to be picked by the judging panel, but there is a "fan favorite" film as well, so admitedly, this is also a call for help! Please go to watch the film at either below link and if you think it deserves it, click the "Like" button. (It's kind of a pain in the butt because you have to be signed in to youtube for the "Thumbs Up" to stick but every click helps, so we really appreciate it!) We are just a little family operation and as such don't have much in the way of "contacts" so we are reaching out here on this forum to draw attention to it. Please forgive my naivite if I am doing something wrong, but we are in the final weeks of this competition and are only 8 votes behind for Fan Favorite, (the fellow in the lead is very good, and a little more established in this world, so frankly I thrilled we are as close to him as we are!) Maybe your votes can turn the tide for Fan Fav, and with that prize (a gift cert from the Apple Store) we can get some new, better equiptment, and turn up the notch on our little production endevors! The main youtube link is here: https://www.youtube.com/watch?v=8HVJ75CUJSk And if you want to see the rest of the competition, or see it on the main sofa.com page, it's here: http://www.sofa.com/short-film-competition-shortlist-2014 Thanks everyone! - Lucien

Hi everyone, I am a very new "Cinematographer/director" I have no experience and I am trying to learn some fundametals, some of the questions come to my mind about frame Aspect ratio, Why would a Cinematographer choose 16:9 over 2.35:1 for example or vise versa ? and how does this effect the story? And there is some movies where you can see both of tha aspect ratio like for example Chris Nolan's Batman the dark knight rises where he used 35 mm in most of the movie where the aspect ration are 2.35:1 or so and Imax 65 or 70 mm in a lot of the scenes where the aspect ratio is 16:9. doesn't this effect the harmony of the film ?? Screen shots from Batman the dark knight rises

HOLLYWOOD – The American Society of Cinematographers (ASC) has chosen 12 student filmmakers from 10 U.S. film schools as nominees in the 2014 ASC Linwood Dunn Student Heritage Awards. The awards are designed to showcase the artistic abilities of the next generation of filmmakers, with a focus on their cinematography skills. Winners will be announced June 14. The nominees are (listed alphabetically): In the Undergraduate category: Freddy Domini Alcantara of City College of New York for HARVARD ON HUDSON Harper Alexander of University of North Carolina School of the Arts for STARLIGHT Jackson Eagan of Ithaca College, Roy H. Park School of Communications for DOOR TO DOOR Jeanpaul Isaacs of Rutgers University for ACROSS DYSTOPIA Mike Reyes of Art Center College of Design for HERO SANDWICH Arden Tse of Loyola Marymount University for THE IMPERFECT METHOD In the Graduate category: Matthew Edwards of University of Southern California for VICIOUS Wesley Hunt of American University for AMONG THE LOST Guy Pooles of the American Film Institute for DIRTY LAUNDRY Doug Potts of Chapman University for ANDRE FOSTER And in the Documentary category: Matthew Blake of Chapman University for FOREST KEEPERS Benjamin Mullinkosson of Chapman University with THE PINK HELMET POSSE The ASC Student Heritage Awards were established to inspire the next generation of cinematographers and to help them pursue their dreams. It is re-named annually in celebration and memory of an extraordinary ASC member. This year's Heritage Award is dedicated to the memory Linwood Dunn, ASC. Twice elected ASC president, Dunn was also a governor of the Academy of Motion Picture Arts and Sciences in two different branches, and was instrumental in the formation of the Academy's Visual Effects branch. His many accolades include an Oscar® for visual effects in 1949 for the original Mighty Joe Young, the Academy's prestigious Gordon E. Sawyer Award, and the ASC Presidents Award. Always keenly interested in technology, Dunn was an inventor at heart and a true filmmaking pioneer; his innovations include the first zoom lens and the first optical printer. At age 93, he was involved in the development of digital projection. The Linwood Dunn Theater in Hollywood was named for his contributions to the motion picture industry. To reach this stage, eligible students must be in undergraduate or graduate school or have graduated within the past year. A dedicated jury of ASC cinematographers carefully views all entries and their voting determines the nominees. For additional information about the ASC, visit www.theasc.com, or join them on Facebook.

Hi Friends, I am professional photographer working from last 3 years and living in India. I have started doing DSLR videos a year back like events, short films, wedding films music videos & behind the scenes. I am really interested in pursuing a one/two year course in cinematography. Any1 had been to film schools for cinematography In Los Angeles.How was the experience ? Is it worth going there? I am really interested in shooting travel work. As an international student how are work opportunities in Hollywood? After graduating how long can we work there? Currently I have applied for FAMU and gonna apply for NFTS as well. I have already heard about USC CHAPMAN AND UCLA but the duration is 3 years. Need advice

Lighting Workshop in LA: Are you working on a new project and want to hone your lighting or camera skills with a DSLR camera? Come to our next LA workshop with ASC Award Winning cinematographer Andrew Russo to sharpen your skills: https://creatorup.com/cinematography-workshop

Looking forward to listening to cinematographers Wally Pfister and Jess Hall talk about how they worked together on “Transcendence” at NAB next week. What makes this special is that Wally is a first time director here. How do two DPs reconcile their take on a major film like this? Is it a disadvantage or an advantage? My guess is the latter. I’ll find out when they appear at their Creative Master Series keynote presentation co-sponsored by the ICG, on Tuesday, April 8 at 1:45 p.m. Room S220 http://bit.ly/1hWwb9w The ICG will be at NAB: Booth C10306 Central Hall – ICG Magazine/ICG Local 600

This kit is totally reliable, everything works. Includes 3 motors, Microforce, etc. Hand Unit just serviced, motor rebuilt, new battery. - MDR-1 Motor Driver Hand Unit 1 FI+Z Transmitter 3x DM-1 Motors 3x Preston Motor Brackets (short, medium, long) Microforce V+F Control Microforce Bracket 3x HU-1 Batteries Fast Charger w/ AC cable 12 Focus Marking Rings 64 pitch gear (PV Iris) 48 pitch gear (PV Zoom) Backup Transmitter Antenna 3x 15mm step-down bushings (Arri) 3x 5/8” step-down bushings (PV) Short MF to HU cable 50’ MF to HU cable 50’ Control Cable (to hardwire hand-unit) 3x Green Motor Cables 5x Blue Run/Stop Cables (Arri 3-pin Fischer, Arri 11-pin Fisher, PV 10-pin Lemo, Moviecam 2-pin Fischer, RED 10-pin Fischer) 4x Red MDR Power Cables (2x Arri 3-pin Fischer, 2x PV 2-pin Lemo ZLP) $8,900 Email: assistantcamera@hotmail.com

Hello! this is a question regarding the quality of the filter against the quality of the lens... Its spring and Im getting so excited to start filming non-black and white (Minnesota is monochromatic for 8 months a year regardless if you like Gaspar Noe or Ingmar Bergman) anyway enough chip talk, I recently found a Rokinon Cine Prime 1.5/35mm lens for my Canon Rebel T4i, looking at filters now, I would normally just get a set of norm. filters cause its like either 18.00 for a set or 300.00 for one filter ;/ never was one for online decisions so I like to ask around. Plus, this is the best lens I have ever had and I dont want to cheat it or disgrace it for fear of it getting back at me on set. I know that Ideally I should get glass filters that are at least of the same quality as the lens itself. What do some other cinematographers think? In school I took it all for granted having infinite supplies, and now that I am slowly building my own closet of fun things I dont want to be constantly replacing things or degrading products coupled with lesser quality products... It seems a bit like Christi Yamaguchi figure skating with butter knives glued to stinky old tennis shoes... what filters have you been pleased with that are also relatively cheap? Anyone use this lens with specific filters to great result? anyway, love from MN **(obscenity removed)** the magic hour, spring is the magic season, luka

I'm a sophemore studying film, the film department at my school is pretty weak so I went out and bought a blackmagic cinema camera and decided to just teach myself Cinematography. I've had the Camera for about a month. The only camera I've had before this one was a gopro hero3 so I had a lot to learn about lenses, color grading, focusing, and a lot of other stuff before I was ready to try to put any stories together. I shot this one mainly focusing on the cinematography since story telling is not my main point yet. Plz tell me how I can improve.

Here's my DP/Cinematography reel. https://www.youtube.com/watch?v=abKSvEEccPw&list=PLL3qI-HZQuwf7lbC4TAvRwBKEPq0KsErJ&index=3 Tell me what you think. :)

ROCHESTER, NY (March 24, 2014) - The KODAK Scholarship Program is now accepting submissions for the 2014 competition. This international program acknowledges student filmmakers who demonstrate exemplary filmmaking skills and creativity at the undergraduate and graduate levels. The deadline for entries is May 16. John Bailey, ASC, a distinguished cinematographer known for his artistic contributions to cinema, will spearhead the panel of judges, who will assess entries based on sample reels, faculty recommendations, and academic achievements. This is Bailey's third consecutive year as a judge. His long list of credits include American Gigolo, Ordinary People, The Big Chill, The Accidental Tourist, Groundhog Day, As Good as it Gets, Incident at Loch Ness, Big Miracle and The Way Way Back, among many others. He also writes a blog for the American Society of Cinematographers - John's Bailiwick - on a range of topics that affect the art and craft of filmmaking. This year, Kodak introduces a new, online submission process to make entering easier. In addition to an online entry form, film schools can now use a public VIMEO or YOUTUBE URL to upload a sample of the student's work that best exemplifies their filmmaking skills. Accredited film schools around the world may nominate up to two students for consideration for the KODAK Student Scholarship, and one cinematography student for the KODAK Student Cinematography Scholarship. The cinematography student nominee may also be nominated for the KODAK Student Scholarship Award. Kodak, in collaboration with the University Film & Video Foundation (UFVF), holds this annual contest to encourage students pursuing a career in filmmaking. The following prizes will be awarded to the finalists and announced in August: KODAK Student Scholarship: Gold: $5,000 tuition scholarship and $5,000 KODAK Motion Picture Film grant Silver: $4,000 tuition scholarship and $4,000 KODAK Motion Picture Film grant Bronze: $3,000 tuition scholarship and $3,000 KODAK Motion Picture Film grant KODAK Student Cinematography Scholarship Award: First Place: $4,000 tuition scholarship and $5,000 KODAK Motion Picture Film grant Honorable Mention: $1,000 tuition scholarship and $3,000 KODAK Motion Picture Film grant Since 1991, Kodak has been supporting future filmmakers and encouraging excellence in the field of motion picture education. The company's ongoing efforts include a range of opportunities that students and educators can use to enrich their knowledge of the art and craft of filmmaking, including educational materials and discounts, in addition to sponsorship of film festivals, awards, seminars and student showcases that raise awareness about emerging talent. For more information, visit www.kodak.com/go/education. # About Kodak Kodak is a technology company focused on imaging for business. Kodak serves customers with disruptive technologies and breakthrough solutions for the product goods packaging, graphic communications and functional printing industries. The company also offers leading products and services in Entertainment Imaging and Commercial Films. For additional information on Kodak, visit us at kodak.com, follow us on Twitter @Kodak, or like us on Facebook at KodakNow. About Kodak's Entertainment Imaging Business Kodak's Entertainment Imaging business is the world leader in providing motion picture film and imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion. Follow us on Facebook (facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm), and YouTube (youtube.com/KodakShootFilm). (Kodak is a trademark.) 2014 Media Contacts: Lisa Muldowney, ignite, +1 760-212-4130, lisa@ignite.bz Sally Christgau, ignite, +1 415-238-2254, sally@ignite.bz

Hey guys, I'm desperately trying to find a book I saw once. It was basically a book full of storyboard panels showing interesting shots. If I remember correctly it had hardly any text at all, just panel after panel, it looked awesome and was a great reference but I cant seem to remember its name or who it was by and general searching on the internet has had no luck. It may have even been a book on photography since as it was basically about shot composition. I was wondering if this seemed familiar to any of you wonderful film making buffs. Thanks for your time, James

Complete LED Fresnel Lighting Kit and Upgraded 1x1 LS Traveler Kits Now Available (CHATSWORTH, Calif.) Litepanels®, a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, has announced the release of its new Sola 4 Traveler KitTM. Designed specifically to accommodate the needs of shooters and productions on the go, the Sola 4 Traveler Kit includes three Sola 4 LED Fresnel fixtures in a rugged, ergonomically designed, trolley-style hard case. Customized for safe and easy transport from location to location, the Sola 4 Traveler Kit weighs only 65 pounds (29.5 kilograms). The three fixtures included in the kit can be easily deployed for a traditional 3-light set-up, and the kit's custom foam insert is expandable to allow for the addition of a classic Litepanels 1x1. Litepanels' Sola 4TM is the smallest DMX controllable LED Fresnel on the market. The daylight-balanced LED offers the controllability and light-shaping properties inherent in a Fresnel light at a fraction of the power draw of conventional fixtures. Offering an output comparable to a 125W HMI, the Sola 4 fixtures can be powered with AC power cables or from professional camera batteries with an optional battery plate and cable. Sola 4 Traveler Kit includes: Three Sola 4 LED Fresnels (Beam Angle: 72° to 13°) Three 4-way Barndoors Three Compact Light Stands Three AC Power Cords One Trolley-Style Hard Case "Our Traveler Kits have been very popular with our customers, and we're pleased to be adding the Sola 4 Traveler Kit to our offerings," said Chris Marchitelli, Vice President of global marketing for Litepanels. "At Litepanels, we're keenly focused on developing product that meets the real needs of our users. The Sola 4 delivers the performance of a compact Fresnel fixture with all of the advantages of LED. With features like daylight color balance, lightweight design and optional battery power, we believe that this kit will help to accelerate the industry's migration to the use of LED fixtures in the field." Optional accessories for the Sola 4 Traveler Kit include the Sola 4 5-piece CTO Gel Set with Gel Bag; the PowerTap 36 XLR, Anton/Bauer's 4 pin XLR to 2 pin S-Tap adapter cable; the PowerTap Extension, Anton/Bauer's 7 foot D-Tap extension cable; and the QRC-LG, Anton/Bauer's battery stand Gold Mount ®. Litepanels has also released an upgrade of their popular 1x1 Traveler Kits to now feature the company's more cost-effective LS models. The collection of three kits features the company's signature 1x1 panels in convenient trolley-style hard cases. The 1x1 LS Traveler Duo Kit provides a pair of daylight color balanced 1x1 LS LED fixtures; one Mono Daylight Flood, with a beam angle of 50°, and one Mono Daylight Spot, with a beam angle 30°. The 1x1 LS Traveler Trio Kit offers two Mono Daylight Floods and one Mono Daylight Spot. The third kit in the collection, the 1x1 LS Traveler Trio Plus Kit, features two Bi-Colors, with a 50° beam angle and color adjustment between daylight and tungsten color balance, and one Mono Daylight Flood. "Our new, more affordably priced 1x1 LS Traveler Kits are the perfect solution for news crews and professional videographers," added Marchitelli. "They feature Litepanels' 100 percent to zero dimming, with no noticeable color shift or flicker at any frame rate of shutter angle, and they can be battery powered for field use. Our LS fixtures were designed and priced to meet the needs of field productions, and our LS Kits now make them even easier for our customers to use." For more information, visit Litepanels on the Web, or follow us on Facebook. About Litepanels Litepanels, a Vitec Group brand, was founded in 2001 by five professional gaffers and engineers who saw the future and pioneered LED (light emitting diode) lighting for motion pictures, television, and the audio-visual industry. Their Emmy® award-winning technology has now been used on thousands of productions worldwide and is trusted by the world's leading broadcast organizations. Litepanels continues to expand its suite of flicker-free, color accurate, fully-dimmable soft lights that talent and lighting directors admire. These environmentally friendly fixtures can pay for themselves with power savings and long life, setting a new standard in professional lighting. More information can be found at www.Litepanels.com 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.

Hello I've been making Super-8 and 16mm and 35mm short films most of my life as a filmmaker and DP, and for the past few years I've started moving towards digital filmmaking. At first I was using MiniDV but the quality was very cheap, so my equipment now is a Canon EOS Rebel T1i that I equip with old 1.4 lenses, and a Sony NEX 3 that I also equip with a bunch of old lenses some of which are handmade/modified lenses. My question is this : Which one is the camera that I should use the most for my films? The EOS has a 20 fps frame rate but a very large image (1920x1080) so maybe that's bad? I only have like three lenses that can go on it and the lenses I design cannot go on a camera with a mirror. Is it that bad to shoot 20 fps? I used to shoot 18 fps with super-8mm. Handheld, the images are too shaky. The NEX has a better frame rate of 30 fps but the image is 1280 x 720, although I have way more lenses for it and most of the homemade lenses I build can go on it because it is mirror less. I've had issues with the compression, though, that make it annoying to use this camera. When handheld, the images aren't too shaky though. I think maybe I should get a NEX-VG10? At the end of the day, I'd love to have a camera that's not too bulky and can shoot very good images, not too compressed, with an e-mount. Getting good sound isn't a priority. I also think it might be possible to get an external SSD recorder to plug in the HDMI of the Sony NEX, thus I would have an uncompressed image from the NEX? At the end of the day, I've used more than 80 different cameras to make my films, and I feel like the search can be endless, although I know the content is what matters more than the tool. But please let me know what you think.

Hello I've been making Super-8 and 16mm and 35mm short films most of my life as a filmmaker and DP, and for the past few years I've started moving towards digital filmmaking. At first I was using MiniDV but the quality was very cheap, so my equipment now is a Canon EOS Rebel T1i that I equip with old 1.4 lenses, and a Sony NEX 3 that I also equip with a bunch of old lenses some of which are handmade/modified lenses. My question is this : Which one is the camera that I should use the most for my films? The EOS has a 20 fps frame rate but a very large image (1920x1080) so maybe that's bad? I only have like three lenses that can go on it and the lenses I design cannot go on a camera with a mirror. Is it that bad to shoot 20 fps? I used to shoot 18 fps with super-8mm. Handheld, the images are too shaky. The NEX has a better frame rate of 30 fps but the image is 1280 x 720, although I have way more lenses for it and most of the homemade lenses I build can go on it because it is mirror less. I've had issues with the compression, though, that make it annoying to use this camera. When handheld, the images aren't too shaky though. I think maybe I should get a NEX-VG10? At the end of the day, I'd love to have a camera that's not too bulky and can shoot very good images, not too compressed, with an e-mount. Getting good sound isn't a priority. I also think it might be possible to get an external SSD recorder to plug in the HDMI of the Sony NEX, thus I would have an uncompressed image from the NEX? At the end of the day, I've used more than 80 different cameras to make my films, and I feel like the search can be endless, although I know the content is what matters more than the tool. But please let me know what you think.

Hi! Met Film School in London has got these two weekend-courses that I would love to recommend (filmmaking). The school is located ten minutes walking distance from the station: Ealing Broadway. The famous studio "Ealing studios" is right next to the school. Maybe you can meet up with Daniel Radcliffe after school? Never done anything with filmmaking before? Then you should apply for the course: DSLR for professional filmmaking. It is a weekend course that is designed for those with a working understanding of the principals of cinematography or stills photography that want to apply this knowledge specifically to shooting with digital SLR cameras. You will learn how to get the best from a DSLR camera and how to make use of a selection of accessories specifically designed for video shootings on stills cameras. Through a range of creative exercises you will discover the pros and cons of working with these systems and how to avoid some of the most common pitfalls. Done some filmmaking before? Do you want something more advanced? You should apply for our course: Advanced DSLR for professional filmmaking. This course is designed for students who have previously completed the DSLR for professional filmmaking course, or those with an extensive DSLR and/or cinematography background. This programme covers areas from focus and operating, to sound sync and postproduction workflows. The aim of this programme is to provide you with the fundamental knowledge to shoot and finish DSLR video footage to its highest standard. Apply now on their website: http://www.metfilmschool.co.uk/

I just toured Columbia College Chicago and was considering finishing a BA in Cinematography there. I was wondering if it's worth it to go through their program or just save the money. It seems like they have a lot of internship/networking opportunities, especially through their alumni. Any thoughts on the school?

http://www.youtube.com/watch?v=vn6b1xeI9wU&list=PLvfmoEMI4m_8xgDQ1GesmEJ0Dt_EMkNv_&index=1 This music video was shot late 2013 in Sydney Australia. Shot on RED epic at 120fps, 4K. We shot in a 4m dive pool and blacked out the sides as well as shooting at night. Enjoy! Feedback welcome! The Year of our War "Nocturne" www.theyearofourwar.com Director Stuart Edgeworth www.chuckedgeworth.com DOP Jon Shaw www.ginclearfilm.com www.soundcloud.com/theyearofourwar www.bandcamp.com/theyearofourwar

I'm 16 years old... Yes somewhat young but I have lots of inspiration and I'd say I'm fairly talented with multi-media. I've been learning after effects for over a year now, using it to edit Call of Duty gameplay which particularly involves VFX, Motion tracking, editing techniques(art), cinematic, time-remapping and editing of-course. It is actually very impressive how the Call of Duty editing community has mastered after effects with call of duty footage. Any of you should absolutely take the time to check out some very talented editors; if you're interested i'll refer you to some of them! It is a whole new level of editing and I'm grateful to have started with something without having to use IRL footage from a camera. I could now apply myself to IRL footage and such. I truly want to master a position in the film industry. I'm so inspired by some films and the art of cinematography mixed with editing.. Whether it's an editor, cinematographer, camera-man, or even the whole package. Whether it's to my own profit, a big company, a festival.. I want to learn all about cameras and technique just like I did for editing. Question #1: I'd like to know about what sort of education and/or diploma is needed to get a job at a big company or a big film project.. Those camera men/cinematographers who reach Hollywood; what got them there? Was it recognition and connections or was it schooling/diplomas etc. ? A few examples of cinematographers/camera men ? Question #2: What camera aspects should I look into? (I'm new to the whole thing) I have done some research on the Panasonic Lumix GH3 and came to mind that there are so many features and aspects to reconsider before I buy a camera, a film maker uses that camera and there's a very nice outcome (a slight panoramic, film looking, well toned).. References to some books, youtubers or links would be great. That's it for now... I hope I'm not asking for too much, I guess I could tell I'm pretty passionate about this lol. Thanks ! John from MTL, QC

Hey Everyone! I put this reel together to use for a few job applications, mainly in the self shooting/editing film maker kind of category rather than a legit DP (which im definitely not!) https://vimeo.com/84313742 Its mainly a mix of DSLR and S16mm stuff Id really appreciate some feedback! As I've no idea what people want to see in a reel! Thanks! Joe

Hi, I'm looking to further my career in cinematography and was wondering if you could help me as I'm trying to find (if there is any) an apprentice scheme in the UK to be mentored by a cinematographer or a few cinematographers? Just thought I'd put it out there to see if anyone has been involved or knows of any schemes, etc. Cheers All James Ian Gray

Hi, I made a new reel for my DP work, I would appreciate any feedbacks and likes. if any one is curious, it's mostly shot with a D7000 and a D800 and one shot with a 5D mark iii. thanks - Omar http://www.youtube.com/watch?v=hJQJtJVm6oQ

Selling my Preston FIZ 1. Solid and reliable! Hand Unit just serviced, motor rebuilt. Everything works, no BS. MDR-1 Motor Driver Hand Unit 1 FI+Z Transmitter 3x DM-1 Motors 3x Preston Motor Brackets (short, medium, long) Microforce V+F Control Microforce Bracket 3x HU-1 Batteries Fast Charger w/ AC cable 12 Focus Marking Rings 64 pitch gear (PV Iris) 48 pitch gear (PV Zoom) Backup Transmitter Antenna 3x 15mm step-down bushings (Arri) 3x 5/8” step-down bushings (PV) Short MF to HU cable 50’ MF to HU cable 50’ Control Cable (to hardwire hand-unit) 3x Green Motor Cables 5x Blue Run/Stop Cables (Arri 3-pin Fischer, Arri 11-pin Fisher, PV 10-pin Lemo, Moviecam 2-pin Fischer, RED 10-pin Fischer) 4x Red MDR Power Cables (2x Arri 3-pin Fischer, 2x PV 2-pin Lemo ZLP) $10,900 Email: assistantcamera@hotmail.com Thanks for listening.

Hello, I'm posting a new video I shot for some friends. They are getting married and I suggested something different.. Everything was shot with the BMCC using an OLD Tokina 35mm 2.8 lens. It's the only lens I own at the moment :P Nothing was lit except for the interior christmas light scenes, only lit by the practical lights themselves. Sadly, I'm not a color grade artist so please be kind with the grade.. I wish it was better too :) I've been playing around shooting different test footages with the camera to try to get a better idea of how to expose properly in different lighting situations. Shooting RAW is great, huge files but worth their size in post. (That can be debatable) Again like the other one, http://www.cinematography.com/index.php?showtopic=60653 I don't have a rig for this camera either sooo sadly some stuff is pretty shaky and given the crop factor my 35mm turned into some 60mm or something around that making every little movement very noticeable. Let me know what you think? Here is what I used: BMCC 2.5k Tokina 35mm Lens Genus Matte Box Hand Held, no Rig