Jump to content

Search the Community

Showing results for tags 'feature film'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Cinematography Forums
    • General Discussion
    • News & Press Releases
    • Lighting
    • Camera Operating
    • AC's & DIT's
    • Grip & Rigging
    • Visual Effects Cinematography
    • Grading, DI and Telecine
    • Students and New Filmmakers
    • Cameras Systems and Formats
    • Lenses & Lens Accessories
    • Camera Accessories & Tools
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • In Production / Behind the Scenes
    • On Screen / Reviews & Observations
    • Cine Marketplace
    • Business Practices
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Regional Cinematography Groups
  • Not Cinematography
    • Producing
    • Directing
    • Sound
    • Editing
    • Off-Topic
    • Forum Support

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Website URL


Skype


Location


My Gear


Specialties

Found 12 results

  1. 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/
  2. Hello everybody, I was just given my first feature film grading job. I need some help. What’s the typical or best way to receive the timeline from the editor? The editor is using Premiere Pro. I will be editing in Davinci Resolve 16. I have only worked with original source files. Mostly on my own projects. So I don’t know how colorists receive and deliver the timeline from the editors. Any tips and advice would be appreciated. Thanks in advance.
  3. Hey folks, been lurking around here for little over a year now. This is my first post looking for insight, not sure if this fits here or should be elsewhere. I'll be shooting on a really low budget (~25k) feature in Mississippi this fall. I'm located and have been working primarily in Arizona, and neighboring states here and there. We are looking for a camera package and naturally, we don't have the money to pay full rate or even half rate. I'm not expecting to shoot on anything high end. I would just like to put together a reliable package that is able to produce the images I'm lo
  4. In the middle of Feb. I will be DP'ing my first feature film. I will be providing my personally owned lighting and grip equipment as well as a RED Dragon cam. I will be lighting the scenes,camera operating, and providing directorial advice to the director. Shooting is scheduled for 3-4 weeks. There is a budget for me to be paid an (ok) rate in installments over the course of those 3-4 weeks. The film will be submitted to bigger studios/reps/investors for consideration of being picked up or bought and being produced on a bigger scale with bigger budgets. In the event that our version does actua
  5. In the middle of Feb. I will be DP'ing my first feature film. I will be providing my personally owned lighting and grip equipment as well as a RED Dragon cam. I will be lighting the scenes,camera operating, and providing directorial advice to the director. Shooting is scheduled for 3-4 weeks. There is a budget for me to be paid an (ok) rate in installments over the course of those 3-4 weeks. The film will be submitted to bigger studios/reps/investors for consideration of being picked up or bought and being produced on a bigger scale with bigger budgets. In the event that our version does actua
  6. Hi everyone Our film The Legend of Ben Hall, an Australian western biopic about an famous/infamous Bushranger named Ben Hall, is getting Australian release on December 1st at selected cinemas. But also a limited screening for one week in LA starting December 16. So if you like the trailer and want to support independents, please go see it! For the LA screening you can get tickets @ http://www.laemmle.com/films/41459
  7. Sony F65 Camera Package with Media. Please see the list below. Serious inquires only. If you know about the camera, but you are not totally familiar with all of the items below please email me. Sony F65 Body 1 F65 EVF and EVF Mounting Plate 1 Sony Riser Plate 1 Shoulder Pad 1 Sony F65 R4 Recorder 1 AB Battery Plate 1 V-Mount Shoe 1 Control Panel 1 2x 9pL to 9pL Cable 1 Accessory Bracket 1 Solid Camera 1/20 and 3/8” Side Mounted Cheese Plate 1 V-lock Connectors 2 4 2-pin, 4 3-pin accessory breakout box for 24V and 12V Power 1 (3-pin Fisher 24volt – 2-pin Lemo 12 Volt Conn
  8. My movie's trailer. -Camera: Blackmagic Production Camera -Record: 4K RAW DNG -Lenses: Carl Zeiss Compact Prime cp2 (25mm - 50mm - 100mm) -Color Grading: After Effects CC -Editing: Premiere Pro CC Director & Writter & D.O.P & Edit by AYKUT ALTINÖZ My other works: aykutaltinoz.com.tr
  9. Hello all, Here's a question that I would like to know the answer to: I'm preparing to shoot a short film, which will be entered into various film festivals, and there is a scene in the movie in which the protagonist is watching an old Western film (haven't decided on which one yet, but most likely The Wild Bunch (1969)). The movie will mostly be shown in the background, though for a few seconds I plan on shifting focus to show some of the violence from the clip. Now, my question is, would there be any copyright/legal issues with this? I plan on giving full credit to the studios i
  10. 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 R
  11. Hi. You're making a movie with a 60D (1080p FULL HD at 24p) and you want to blowup it to 35mm. What resolution would you use in FinalCut? Full HD (leaving all the hard and expensive work to the LAB)? 2k (resizing the 1080p FULL HD material to 2k size)? OR 4K (resizing the 1080p FULL HD material to 4k size)? Any additional tip will be much appreciated! MR
×
×
  • Create New...