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  1. Looking for some critique on a short film I made! Thanks! (Don't bother telling me about the quick change of dialouge in the ending, I already know haha) https://vimeo.com/143703968
  2. Hi everyone. I'm shooting a short character doc in Greenland in two weeks. I'll be on a ship/boat most of the time. My camera is C100 with atomos ninja star. Lenses are: Sigma 18-35 1.8 / Canon 24-70 F4 / Canon 70-200 2.8 and I have an old school Olympus 50mm 1.8. Do I need any special filters? And if so, which and what brand. Otherwise any suggestions are very much appreciated. Thank you :)
  3. The first of its kind, this workshop on wildlife cinematography is taught by EMMY award winner Robin Cox and Keshav Sishta in conjunction with Field Projects International and Primates Peru in the Amazonian rainforests of Peru. Be one of the first eight applicants to register to receive the early-bird rate ($2400 per person). Enrollment opens: June 8, 2015 at 8 am (Central Standard Time) Unlike any other workshop out there, students will gain exclusive access to expert cinematographers and field biologists at the same time! At the completion of the course, students will enhance their portfolios, gain a blue print for producing nature and research documentaries, technical know-how under challenging field conditions, and a network of colleagues that will help you further your career. Previous film making experience is a bonus but is not a prerequisite for this course. Participants must have a working knowledge of photography, and familiarity with a DSLR camera - no other prior experience is necessary. Details on the course can be found here, and the registration form can be found here. Contact us at admin@primates-peru.org for further questions.
  4. Another great article by Phil Rhodes in the June issue of American Cinematographer. This one is for all us film lovers. It discusses the making of a short documentary, the subject of which is a man who owns one of the last film shops in the world, devoted solely to Super 8 and 16mm. He hits all the salient points we talk about here. You can view the film here: http://www.liamsaintpierre.com/the-way-of-the-dodo/ Thanks, Phil!
  5. Hi! We are looking for a Camblock operator who loves adventure and cinematography for a documentary we will be shooting in Baja (California) in a few weeks. We will be down there for a couple of weeks and its a paid gig. We're based in LA. Please contact georgina@usc.edu if interested. Best, Georgina
  6. Hi guys, I want to share with you my last documentary short, shot on tri-x super 8. MINUTERA Minutera is a reflection about photography, about what we lost. vimeo.com/k3films/minutera Enjoy!
  7. A short documentary I shot exploring a little bit of the world through the eyes of the homeless. Please I'd like your thoughts on it. It's super short and I'd love to make it longer. Sadly It was a one man crew and I tried my best! I wish so much I could have had someone dedicated to the audio on set but it was just me and it was in a real world environment so I either get the interview or I don't... I feel that my audio is the weakest part of this mini doc and ironically the most important. Maybe it can be better adjusted in post but I'm not too good in that department of audio. http://youtu.be/7526GdVQgMM https://vimeo.com/113297473 Thank you
  8. Hi everybody. Urgent question. I'm in the process to get Sponsorship for our documentary, we'll shoot with a BlackMagic Pocket Cam. We have 2 options for the Zoom Lenses we'll going to use: 1. Arri-Zeiss Zoom 11-110 S16mm PL Mount 2. Zeiss Compact Zoom CZ.2 28-80 T2.9 We're aware that both are great lenses. The S35 Compact Zoom would demand a Metabones Adapter, but that's no problem at all. I wonder which would you guys pick and WHY? Of course the S35 one is new, and that might be a benefit. Thoughts? Thanks, F
  9. Hello everyone, sorry to bother! This would be my first post in this forum, I hope I won't disturb anyone with anything. In 2012, I spent a couple of weeks on the ancestral continent. From my raw footage, I managed to assemble a kind of a documentary, as you can see following the URL: The comments are welcome. Thank you in advance! Best regards, Eddie D
  10. Producers Keanu Reeves and Justin Szlasa have chosen to create a film element of their feature documentary Side by Side on KODAK VISION3 Color Digital Intermediate Film 2254. This intermediate post production step will also provide the producers with a master for making 35mm film prints. The 2254 will then be archived at the Academy Film Archive, which is providing substantial and instrumental support to preserve this culturally significant exploration into the evolution of digital and film formats. Side by Side recently aired on PBS after a successful run on the 2012 festival circuit, and a limited release in theaters. The Academy is also planning future screenings of the film. “We took a deep dive into the evolution of filmmaking technology and spoke to hundreds of artists and filmmakers to make this documentary,” says Reeves. “What we took away is that, right now, film is the only archival medium that is truly proven. We'd like Side by Side to be available for future generations, and we think creating film elements is the best way to do that.” KODAK VISION3 2254 Film faithfully retains nuances in colors, contrast and other characteristics of digitally created images, and offers exceptional dye stability, allowing for extended asset life. Technicolor New York is providing the transfer services, and the stock will be used as a master for generating a few high-quality release prints for upcoming 35mm film screenings of the documentary. By choosing this postproduction path, Side by Side will be preserved for more than a century. Side by Side investigates the history, process and workflow of both digital and film creation. The movie, directed by Christopher Kenneally, shows what artists and filmmakers have been able to accomplish with both film and digital and how their needs and innovations have helped push filmmaking in new directions. Interviews with directors, cinematographers, colorists, scientists, engineers and artists reveal their experiences and feelings about working with film and digital — where we are now, how we got here and what the future may bring. “At the end of the day, film is still the most stable and reliable preservation medium,” adds Andrew Evenski, President, Entertainment & Commercial Film, Kodak. “Only film offers a standardized, human-readable format that has been in existence for well over a century, and methods for retrieving content from a 35mm frame will exist well into the future. When content is preserved on film, no re-mastering is necessary.”
  11. http://www.youtube.com/watch?v=IVeeqPDX0-o Hey guys, I haven't been here in a while, so I'm glad to be back and see this forum is still here and alive. I've been editing a project all summer..I probably won't get paid much at all. But I accepted the challenge because it's for a good cause. This is a rough cut, featuring notable football, boxing stars, musicians and the inner city youth of LA. Ring-led by George Mumford (sports psychologist. Lakers, Bulls, etc) I kindof know what's wrong with this short already. But I'd love to hear any other perspective. Brutal, honest feedback is painful but I welcome it, since you may spot something I didn't think of, or see. That is priceless. I hope you enjoy, and remember this is a rough cut, be gentle too! (scratch that, be brutal as you need to be)
  12. Bryan H. Carroll Captures the Heart of the Motorcycle Community (LOS ANGELES, CA) Walking West Entertainment and Gnarlynow Entertainment have completed principal photography on Why We Ride, the first feature documentary of its kind in years to explore all aspects of the motorcycling community and its riders. Project helmer and Gnarlynow founder, Bryan H. Carroll, (Public Enemies, Miami Vice, Collateral) is producing and directing along with Walking West's James Walker (Brake) as producer. Ed Kretz Jr., (AMA Hall of Fame Racer), is on board as a technical consultant. "Why We Ride is a story about the passion of motorcycle riders," Carroll commented. "From a family riding together on the sand dunes, to hundreds of choppers carving through the canyons - the bond with two-wheels is the same - it brings people together in a unique and memorable way and we wanted to share that joy with an audience." Why We Ride began production in July 2012 with filming continuing all over the country for a full year. From the deserts of California to the salt flats of Bonneville, visiting the rallies in the Midwest and beyond to Daytona, Carroll captured photography and interviews of riders and racers from all walks of life and all forms of motorcycling. With a special emphasis on the increasingly popular women, youth, and family groups of the sport, the film works to show how the motorcycle community continues to grow all around us as it's passed down from parents to their children. Why We Ride was shot with Canon's Cinema EOS C500 camera and paired with Codex's Onboard S recorder, which enabled 4K resolution at rates up to 120 fps. The package was compact and lightweight enough to be operated out the door of a speeding van or on the end of a 12 foot jib arm. Carroll concluded, "When you're averaging 30-40 setups per day on a documentary, the mobility and durability of the camera package is paramount." Why We Ride will be released later this fall. About Gnarlynow Entertainment Gnarlynow Entertainment was launched by Producer/ Director Bryan H. Carroll in 2010 as a production platform to develop and produce high-quality films that are informative, positive and entertaining. # # # Media Contact: Christine Purse (chris@ignite.bz) or Gail Laguna (gail@ignite.bz) ignite strategic communications 818.980.3472
  13. Hello, Very Nice Industries is starting a new web series about cinematography called How.I.Lit.it. We're looking for DPs who want to appear on camera and share their experience with us. At this point we are concentrating on New York and the Tri-state area. If you're interested, you can find out more by visiting http://io.vni.io/how-i-lit-it-pitch. Thanks, Howie
  14. Hello, Very Nice Industries is starting a new web series about cinematography called How.I.Lit.it. We're looking for DPs who want to appear on camera and share their experience with us. At this point we are concentrating on New York and the Tri-state area. If you're interested, you can find out more by visiting http://io.vni.io/how-i-lit-it-pitch. Thanks, Howie
  15. This is Stopdown Pictures 4th photo shoot with the Ojeda family. This time I wanted to make a short Behind the scenes video to represent the relationship we are able to build with the Ojeda family and the variation among all the photo shoots. Also, not to mention, I was dying to film the entire shoot with my new BMCC. I filmed it in raw 2.5k. My post process is pretty simple. First, I make proxies of my raw clips in DaVinci Resolve. Second, I do my editing in Premiere Pro CS6. Third, once the picture is on lock I bring it back into Resolve where I link my media with the source (raw files). Forth, I grade my footage by using the Artist Color (which I absolutely LOVE). Fifth, I output a Prores HQ file and reimport that into Premiere Pro, where I make my final adjustments. behind the scenes, bts, photo shoot, family photo shoot, theme park, castle park, riverside, california, summer, bmcc, bmc, blackmagic cinema camera, 2.5k raw, prores hq, davinci resolve, premiere pro cs6, color grading, post process, stopdown pictures, cinematography
  16. Hello - I'm in the process of finishing up a documentary that I shot last year. I'm almost at picture lock and it's time for me to start thinking about color correcting and grading my project. My film was shot on two different film stocks, Kodak's 50D 7203 and 500T 7219. Both films were processed normal and were given a flat pass telecine on a Baselight system to HD ProRes422HQ files. I've tried some correction tests with this footage and I am having a devil of a time getting everything to balance out. The transfer is obviously lacking in contrast, and when I try to correct that it knocks the color and saturation all out of whack. According to the scopes I am using (inside color and FCP) I have to drop the blacks way down and stretch the whites and the midtones way up in order for the spread to register correctly. In fact, it seems to take too much correction to add contrast to my footage. Is this the case? Am I doing to do much? I'm turning to you guys for some help and advice. Right now I'm not worried about grading the footage - just correcting it so it doesn't look flat. Below are some screen grabs from my project which should give you a good idea of what I'm dealing with. If you have any suggestions or comments please feel free to share them with me. I'm also happy to provide more screen grabs or answer any questions if you think it will help. Here's some shots from the 50D footage, all take in full sun around f16. http://www.flickr.com/photos/25291579@N00/9007383279/ http://www.flickr.com/photos/25291579@N00/9007384281/ Here's some shots for the 500T footage. Two were shot under fluorescent light at around f2, the last was shot using a practical tungsten fixture at around f4. http://www.flickr.com/photos/25291579@N00/9007385761/ http://www.flickr.com/photos/25291579@N00/9008568480/ http://www.flickr.com/photos/25291579@N00/9007388485/ I should mention that these screen grabs appear much darker than my actual footage. The blacks are not as strong in the 7219 footage as shown here, but they are very strong in the 7203 footage and these stills make them look even darker. I should also mention that this project will most likely be corrected using Apple's Color. Thanks in advance for your help, Aaron Martin
  17. CINEMATOGRAPHER wanted for documentary Personal story interviewing family members - friendly interrogation! PAID. First film - yes! low budget, hello, this is a documentary?? But, I believe everbody deserves a wage for services. Will not pay for traveling. Must have experience and own digital camera. Lighting a plus. Sound important. Send a reel if you have one. We'd love to see your talent. For more information email/contact veronicagilmore101@gmail.com I will try to respond to each email. Project - This film captures similar truth/struggle's to Sarah Polleys recent documentary "Stories We Tell", although very different. This is a non fiction story that I own rights to. Subject matter is a love story with layers about family secrets, blended families, reuniting, adoption, adoptee's, politics, secular humanist issues, and the human right to love whom ever we choose to. Today is her Birthday Where are you from Productions Film students encouraged to contact me. Locations for 2013 (general locations) Dates TBD Indian Wells, California Beverly Hills, California Daily City, California San Bruno, California Tallmadge, Ohio (outside of Akron, OH) - if you have minimal experience and live in this area - please contact me ASAP! Sarasota, Florida Please reference which location you are available for and dates you are NOT available for. I realize this can change. My time at each location will be minimal and timing is everthing. We are set to begin filming in the Richmond, Virginia area on May 27th, 2013 with two very Amazing VCU film graduate's. Thank you! I look forward to hearing from you!
  18. CINEMATOGRAPHERwanted for documentary Personal story interviewing family members - friendly interrogation! PAID. First film - yes! low budget, hello, this is a documentary?? But, I believe everbody deserves a wage for services. Will not pay for traveling. Must have experience and own digital camera. Lighting a plus. Sound important. Send a reel if you have one. We'd love to see your talent. For more information email/contact veronicagilmore101@gmail.com I will try to respond to each email. Project - This film captures similar truth/struggle's to Sarah Polleys recent documentary "Stories We Tell", although very different. This is a non fiction story that I own rights to. Subject matter is a love story with layers about family secrets, blended families, reuniting, adoption, adoptee's, politics, secular humanist issues, and the human right to love whom ever we choose to. Today is her Birthday Where are you from Productions Film students encouraged to contact me. Locations for 2013 (general locations) Dates TBD Indian Wells, California Beverly Hills, California Daily City, California San Bruno, California Tallmadge, Ohio (outside of Akron, OH) - if you have minimal experience and live in this area - please contact me ASAP! Sarasota, Florida Please reference which location you are available for and dates you are NOT available for. I realize this can change. My time at each location will be minimal and timing is everthing. We are set to begin filming in the Richmond, Virginia area on May 27th, 2013 with two very Amazing VCU film graduate's. Thank you! I look forward to hearing from you!
  19. Hi everyone! I'm a newbie here and am looking to get a bit of feedback and expand my network. Recently out of SVA's Social Documentary Film program (2011), I'm a documentary filmmaker based in NY. In the past few years, I've been working freelance as an associate producer, DP, and editor while I finish up my first documentary film, Kasmayaki. My background is in photography, and I made the transition to video a few years back when I became decided to use my image-making skills to work on environmental projects. Since then, I've done photo and video work for groups like the Environmental Defense Fund, Al Gore's Climate Reality Project and the National Fish & Wildlife. A few months ago, I traveled to Nigeria to shoot a documentary called Street Girls. I really enjoy working as a DP with a director. I recently cut a cinematography reel and would love your expert feedback! Since I've only worked on tiny budget productions, I'm looking to expand my experience in shooting larger budget films. I'm interested in developing myself as a DP and am looking for opportunities where I can work on set as camera assistant. I'm professional, hardworking and committed to my craft - if there's anyone looking for an assistant, please get in touch! Or feel free just to say hello. :) Looking forward to exploring this site and learning more from the forums, which I can already see are packed with useful information! Best regards, Yuki Kokubo
  20. All, I'll be brief, i'm essentially looking for a film making graduate that might be interested in making a short film documentary about a motorcycle build. I belong to a partnership of 5 motorcycle enthusiasts in Camden Town that share a workshop and reinvent vintage motorcycles. The aim of this next project is to take a Triumph Bonneville from 2008, strip it down and reinvent it... this time as a classic motorcycle. That is to say, a motorcycle with character. The workshop is located underground underneath an old artist's studio. The two people building the bike will consist of myself (Raoul) and the client (JT). Were both in our mid twenties and work full time. The idea behind the documentary is to capture drama and energy of building a custom motorcycle in the spirit of Matt Machine (). Requirement: First of all I should make it clear that the project will not be paid. As film maker you will be given total control over the film making and given full credit. It is quite simply an opportunity for you to make a unique short film. Dates available (between end of May and beginning of June 2013). If you are interested, then please drop me an email at r.mooyaart@gmail.com and we'll meet for a coffee. Looking forward to hearing from you. WE
  21. go to link below for T. Anthony Gharzouzi's Demo reel http://tarekimages.com/reel.html
  22. Please take a look at the cinematography of this film and let me know if you have any advice on how to get better shots or how to tell a better story visually. Thank you. https://vimeo.com/54423274
  23. So there seems to be some interest in this doc we've done awhile ago. FINALLY though we're getting to distribute it very soon, so now everyone can see it. Until then, here are the trailers and promos that I produced at the time to help promote the film :)
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