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Hi, i am currently coming to the end of my film degree and for my final piece of work i'm writing a research project about film noir's visual style and how different lighting techniques were used and whether the cinematography is ultimately a character. I'm looking to speak to directors/cinematographers/photographers/Gaffers who have used visual techniques from film noir and use replies within my project. (sorry to have to do this on here, i've tried contacting cinematographers directly but i'm just being ignored) My questions: why did you decided to get involved with the project that uses film noir cinematic styles? Why did you use techniques from classic noir? Which lighting set-ups have you used? What were the themes within the scene(s) that you used these techniques? Did you attempt any other lighting set-ups before deciding to use the specific set up for the shoot you were involved in? Would you consider the cinematography of the project you have worked on to be a character? For indoor scenes what type of lights/and how many were used to create the visual 'look'? If you can't answer all the questions thats not a problem, just answers the ones relevant to your project. Also if you could give me details about the project you worked on, or give me a link to the final piece, and your name so i can credit it correctly that would super helpful. If you want to contact me directly, and have the capability on this website (newbie to the forum), please do. I'm running out time on this project and i will greatly appreciate any responses to the questions. Thank you so much for helping out with this, i look forward to hearing from people. Rob

Hey Everyone. I'm new to this site. Hoping to get some good feedback about my work. I am just starting to do film as a result of my work with music. I want to go into narratives some day, but I have a passion for music as well, so i think shooting music videos for my songs to come would be a good way to transition in the future. Take a look at my first song and video... I hope you enjoy! please comment.

Would love some feedback. www.spencerhutchins.com

Hey cinematographers, I'd love your critique and feedback on my work! As I approach graduation, I'm hoping to fine tune my body of work and learn from every source possible to help me become the best visual storyteller I can possibly be. Here are a few links to some of my work: From Underneath Conceptual Scene: TTEOT Trailer: http://vimeo.com/39462647 First Breath After Coma: https://vimeo.com/54788602 Big Shot Bikes Spot: https://vimeo.com/47129431 Big Shot Bikes Spot 2: Birds Barbershop Spot: http://vimeo.com/29406599 Love, Emily (AFF Shorts Selection) : UT Austin Montage: Chicago Montage: http://vimeo.com/19733944 Thank you so much for your time! Best, Chris www.bourkeproductions.com

The International Cinematographers Guild (IATSE Local 600) will play a prominent role at the upcoming National Association of Broadcasters Show in Las Vegas. They will partner with the NAB for a Creative Master Series session in the Convention Center’s South Hall 220 on Monday, April 8, at 4:15 p.m., where filmmakers who worked on the hit NBC drama Revolution will discuss how two Cinematographers, their on-set camera departments, and CGI artists have helped make Revolution look like no other episodic on the small screen. Title of the session is, “You say you want a Revolution? How Cinematographers and VFX collaborate on the hit NBC drama.” Participants will include David Moxness, CSC, Director of Photography, Jay Worth, VFX Supervisor, Geoff Garrett, Associate Producer who oversees post production and Paul Grellong, Supervising Producer. David Geffner, Executive Editor of ICG Magazine, will moderate. This will be followed by a session titled “Emerging Technologies and Toolsets: Emerging Cinematographers Talk with Technology Companies,” to be held at 5:30 p.m. in room S219. Emerging Cinematographer Award-winners will discuss the benefits and hurdles for successful real-world application of the latest technologies. Participants are Steve Tiffen of the Tiffen company, Tim Smith, Canon USA, Daron Keet, 2012 ECA honoree and Pete Villani, 2012 honoree. Steven Poster, ASC, president of the ICG, will moderate. A cocktail reception honoring ECA winners will follow. These awards are given to ICG members who have demonstrated exceptional skill, even though they are not yet in the Director of Photography classification. Last year only 10, of the more than 100 films submitted, were selected. contact: rick@publicity4all.com

Hi everyone, I'm a new DP based in Edinburgh, Scotland. I'm looking to come to L.A to do a course or workshop in Cinematography to further my skills and career, and for the experience of it. Can anyone recommend a good course, workshop or classes to do? Many thanks, Steven You can view my reel at www.stevenabercrombycook.com

Hi everyone! I just moved to New York, and I'm working as a cinematographer at the moment (mainly assisting, but I had a few projects where I did the cinematography on my own). I wish to learn more about lighting with low budget. Because of the financial crisis, a lot of the projects lately have a very small budget, and I want to be able to learn better how to work with this. Can anyone recommend me a good workshop (or something like that) where I can learn this? Share your experiences with me! :D Thanks a lot!

Hey all, new to the forum. Here's my reel: http://www.benstamperpictures.com Looking forward to the collective wisdom, Cheers, BEN

I'm looking to complete an MFA in cinematography in California. I have significant experience as a DoP but I would like to experience the big budget approach to lighting and camerawork in general. All the while completing an MFA. I am also looking for the school that would offer the maximum hands on experience (with all sorts of DP gear) as I am looking to complete the maximum amount of hours of shooting in an academic setting. Focus on narrative fiction. I have looked at USC, NYFA, AFI, UCLA..... All seem to have really good curriculums but I'm trying to find out which one works better for me. Does anyone have any suggestions in terms of comparing the various schools in California? Post studies job placement is an issue as well..... regards

Hello, I am currently a senior undergrad and thinking about pursuing an MA in Cinematography, or perhaps Film Production/Editing, in a couple of years. I'm interested in pursuing Documentary or Independent film. I have some questions. 1. I've been looking at some film schools in the UK and Canada (I'm not very interested in schools in the US) but I am not sure where I would like to go yet. Are there other countries that have good film programs? 2. I know that portfolios vary from school to school, but what kind of videos/films should you have in a good portfolio? I have a couple videos from previous film courses and my own work such as commercials, promotional videos, and 5 minute shorts. I'm taking a video production independent study next semester and I need some ideas on what I can work on to prepare for this. Thanks!

Game of Thrones, Hunted, Wilfred and Great Expectations Win in TV Categories LOS ANGELES - Roger Deakins, ASC, BSC; Balazs Bolygo, HSC; Kramer Morgenthau, ASC; Florian Hoffmeister; and Bradford Lipson claimed top honors in the four competitive categories at the 27th Annual American Society of Cinematographers (ASC) Awards for Outstanding Achievement, which was held here tonight at the Grand Ballroom at Hollywood & Highland. Deakins won the ASC Award in the feature film competition for SKYFALL. Bolygo and Morgenthau tied in the one-hour television episodic category for Cinemax's HUNTED and HBO's GAME OF THRONES, respectively. Hoffmeister won the TV movie/miniseries award for PBS' GREAT EXPECTATIONS, and Lipson was the recipient of the half-hour television episodic category for FX's WILFRED. The ASC Award for best feature was presented by Emmy®-nominated actor John Slattery. Deakins, who was regrettably not able to attend, has previously won ASC Awards for THE SHAWSHANK REDEMPTION (1995) and THE MAN WHO WASN'T THERE (2002). His other ASC nominations include FARGO (1997), KUNDUN (1998), O BROTHER, WHERE ART THOU? (2001), NO COUNTRY FOR OLD MEN (2008), THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD (2008), REVOLUTIONARY ROAD (2009), THE READER (2009), and TRUE GRIT (2011). He also received the organization's Lifetime Achievement Award in 2011. The other nominees in the feature film category were Seamus McGarvey, ASC, BSC (ANNA KARENINA), Danny Cohen, BSC (LES MISERABLES), Claudio Miranda, ASC (LIFE OF PI), and Janusz Kaminski (LINCOLN). Actor David Zayas, also known as Sgt. Batista on DEXTER, announced Bolygo and Morgenthau had tied for the Outstanding Achievement Award in the one-hour television category. This is the first tie in ASC Awards history. Bolygo, a first-time ASC nominee, won for the "Mort" episode of HUNTED. This is the first win for Morgenthau, who has been previously nominated for THE FIVE PEOPLE YOU MEET IN HEAVEN (2005), LIFE ON MARS (2009) and BOARDWALK EMPIRE (2011). Tonight's award is for the GAME OF THRONES episode "The North Remembers." The other nominees in the one-hour television episodic series category were Christopher Manley, ASC for AMC's MAD MEN ("The Phantom"), David Moxness, CSC for FOX's FRINGE ("Letters of Transit"), Mike Spragg for Cinemax's STRIKE BACK (Episode 11) and David Stockton, ASC for FOX's ALCATRAZ (Pilot). Oscar®-nominee Mary McDonnell presented the Television Movie/Miniseries Award to first-time ASC nominee Hoffmeister for the PBS Masterpiece presentation of GREAT EXPECTATIONS. Nominated along with Hoffmeister were Michael Goi, ASC for FX's AMERICAN HORROR STORY: ASYLUM ("I am Anne Frank: Part 2"), Arthur Reinhart for History Channel's HATFIELDS & MCCOYS, and Rogier Stoffers, ASC for HBO's HEMINGWAY & GELLHORN. TWO BROKE GIRLS' Matthew Moy presented the half-hour television category award to Lipson, who was a first-time ASC nominee for the "Truth" episode of WILFRED. Nominated alongside Lipson were Ken Glassing for FOX's BEN AND KATE ("Guitar Face"), Goi for NBC's THE NEW NORMAL ("Pilot"), Peter Levy, ASC for Showtime's HOUSE OF LIES ("Gods of Dangerous Financial Instruments"), and Michael Price for ABC's HAPPY ENDINGS ("Four Weddings and a Funeral (Minus Three Weddings and One Funeral)"). Oscar®-winner Angelina Jolie presented the ASC Lifetime Achievement Award to Dean Semler, ASC, ACS who earned an Oscar® and an ASC Award for Kevin Costner's DANCES WITH WOLVES (1991). In 2007, his work on Mel Gibson's APOCALYPTO earned him a second ASC Award nomination. Semler's nearly 70 feature credits include such memorable films as CITY SLICKERS, LAST ACTION HERO, WATERWORLD, THE BONE COLLECTOR, WE WERE SOLDIERS, XXX, BRUCE ALMIGHTY, THE ALAMO, GET SMART, 2012, DATE NIGHT, SECRETARIAT, Jolie's directorial debut IN THE LAND OF BLOOD AND HONEY, PARENTAL GUIDANCE, and the upcoming MALEFICENT. The ASC International Award was presented to Robby Müller, NSC, BVK by director Steve McQueen and actress Nastassja Kinski who worked with him on the film PARIS, TEXAS. Kinski noted, "Seeing Robby work on that film made me want to know all about the camera - how it catches light, images, and feelings. How it serves as the window to each film." Müller was unable to attend the event, and McQueen and Kinski accepted the award on his behalf. The Career Achievement in Television Award was presented to Rodney Charters, ASC, CSC (24) by Sir Robert Harvey, mayor of Waitakere City in New Zealand. The ASC Presidents Award was given to Curtis Clark, ASC (THE DRAUGHTSMAN'S CONTRACT) by Stephen Burum, ASC. Last year, Emmanuel Lubezki, ASC, AMC won the ASC feature award for THE TREE OF LIFE. The American Society of Cinematographers was chartered in January 1919. There are more than 300 active members of ASC, and 150-plus associate members from sectors of the industry that support the art and craft of filmmaking. Membership and associate membership is by invitation based on contributions that individuals have made to advance the art of visual storytelling. For additional information about the ASC, visit www.theasc.com. Join ASC on Facebook at http://www.facebook.com/The.ASC and American Cinematographer magazine fan page at # # # Media Contacts: ignite strategic communications Lisa Muldowney - 760.212.4130 / lisa@ignite.bz Sally Christgau - 415.238.2254/ sally@ignite.bz

https://vimeo.com/59217562 Footage from various shorts I've done in the past 2 years. Camera's used: Arri Alexa, Phantom Flex, RED Epic, RED M-X, RED One, Ikonoskop A-Cam DII, Canon C300, ...

Here's my latest short film which I did a lot of experiments for regarding Cinematography. http://www.youtube.com/watch?v=V5lJ9C5XWqw

I'll be using a strobe (flash) on an HD shoot. I've seen this in the past but it never seems to work well (strobe duration and shutter angle/shutter speed issues). Any ideas, tips or thoughts you can share with me?

G'morning ladies and gents. Just wrapped up my cinematography reel from 2012, so feedback is most definitely welcome! https://vimeo.com/57107763

https://vimeo.com/56763193 This was one of several scenes we shot for a comedy feature film where I was brought on as the Cinematographer. Unfortunately we weren’t able to finish the project, but I got the chance to work with a great AD in the process and meet a few good friends whom I still work with today. BOUNCE- Chicken Spot Scene ASSISTANT DIRECTOR- Edmar Flores DIRECTOR OF PHOTOGRAPHY- Kahleem Poole-Tejada 1st AC- Robert Billings

This is an old spot I did several months ago. Part of a 3-part ad series for a local fight-themed fitness gym. Very cool guys here. Always open to feedback, so FIRE AWAY! https://vimeo.com/56674499

Hi All, I'd love to hear peoples thoughts on my latest music video. It was shot on a 5d, with a budget of $25, which was spent on pizza (.....yippie). http://youtu.be/b6VPlSfFREY

Hello, this is my film, 64 cents, which won an award for best Drama at the Cal State San Marcos Film Festival. I co-directed, but did all cinematography of this piece. We received a lot of praise for the camera work among teachers and peers, but I'm looking for more opinions, or what i can improve on. It is about a young boy returning to his home, years after an apocalypse following y2k. Feel free to comment on this forum or the video's page. thank you. WWW.vimeo.com/braceylemons/64cents

Here is my Demo Reel https://vimeo.com/55330379

This was a spot I did for NY Fashion Week during the Sept 2012 season. It's essentially a highlight consisting of a number of runway shows and BTS points from various shows all over the city. I had a ton of fun with this spot, as it paved the way for me to jump into fashion filmmaking alongside other bodies of work. http://www.youtube.com/watch?v=oGiBAMtE8uk Additionally, this was another fashion spot for a small urban clothing line. Sort of chimes in on the previous work a bit... ESEF NY Fall Delivery 2012: https://vimeo.com/47217443

So I've been posting quite a bit here and just wanted to share some of my work. This was a series of promos set up for a Madison Square Garden combat sport based event called "Muay Thai At The Mecca II". I was brought on as the DP/Director of a second time and produced several spots for the promotion this previous November. I'd love to hear you guys feedback on everything :) http://www.youtube.com/watch?v=xLKrQGncq0g http://www.youtube.com/watch?v=TtO_4CfTX9o

BYDGOSZCZ, Poland (November 19, 2012) – Kodak is hosting a discussion with cinematographer Mihai Malaimare Jr. at Plus Camerimage, the international film festival of the art of cinematography, on November 28 at 15:30 (3:30pm) at the Opera Nova, first floor seminar room. Festival attendees will hear first-hand why Malaimare and director Paul Thomas Anderson chose to shoot 85% of the critically-acclaimed movie on the 65mm film format and project it on 70mm in select theaters. Immediately following the conversation, Kodak will showcase their new Asset Protection Film portfolio, which includes two color and one black-and-white separation film optimized for recording images from the digital workflow back to film. As the only proven archival medium, Kodak has responded to customers’ needs by developing innovative options for independent filmmakers, broadcasters, documentarians, as well as studios, to preserve their assets for decades. KODAK Color Asset Protection Film 2332 is optimized for content owners who originate or finish their productions on digital formats and want to protect their valuable media for the future. The brand-new KODAK VISION3 Digital Separation Film 2237 is an archival stock for preserving images from color digital masters and is optimized for laser, CRT and LED light sources utilized by digital recorders in the marketplace. Paul Collard from London-based Deluxe 142 will also join Kodak to share his thoughts on the importance of archiving on film, based his experience with many restoration projects over the years. “Kodak has participated and supported the Plus Camerimage festival since its inception in 1993 because of the unique global forum it provides filmmakers to discuss issues and share ideas,” says Kodak’s Kai Langner, Regional Sales Director and Vice President for the Entertainment Imaging division in Europe, Africa and the Middle East. “The festival draws a large number of cinematographers and students from all over the world, which gives us a great opportunity to show them how committed we are to innovating motion picture technology. We are proud to be part of the 20 year history of the festival, and look forward to many more.” For updates on what is happening at the festival, follow Kodak on Facebook and Twitter. For more information about the festival, visit http://www.pluscamerimage.pl, and for more information about Kodak visit www.kodak.com/go/motion.