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Showing results for tags 'film'.
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All useful for writing the story, includes many of the latest blockbusters: A ton of movie story structures at https://www.youtube.com/user/clickokDOTcoDOTuk/videos 2015 Academy Award Winner / Nominees at http://www.kalbashir.com/Oscars-2015-Winner-And-Nominees.html 2014 Academy Award Winner / Nominees at http://www.kalbashir.com/Oscars-2014-Winner-And-Nominees.html All Best Films at http://www.kalbashir1.blogspot.com
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RED One Package for sale with full set of RED primes and variable RED lenses For Sale : Red One Package. Asking : $16,000 Red Camera Body Red Pro 7" LCD : Compact Flash Module (3 x 8GB CF Cards) Red Power Pack (2 batteries 1 charger) 2 x 320GB Red Drives Power Supply Red Cheese Plate Custom Flight Case Red Cradle(hard drive and v-lock battery) LCD Cable 7" Drive Cable 6" Base Production Pack - Front Handle - Bottom Plate - Shoulder Dove Tail - Top Mount - Top Handle - Red QuickPlate - 24" Steel Rods - 16" Steel Rods Prime Lenses (RED) : 18mm, 25mm, 35mm, 50mm, 85mm and 100mm (Includes hard shipping case) Variable Lenses (RED): 18-50mm, 50-150mm ( slot available in Custom Flight Case for transport) Asking : $36,000 (the Price is negotiable within reason) All equipment is in great condition and ready to use. Drives were refitted by red in 2014. I am the original owner of all equipment and it has never been on hired.
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Used ARRI Alexa M 4:3 in stock. Excellent condition. £19,500 GBP (ex VAT) Condition: Used Warranty: 6 Months Op hours- 1000 Case Containing: ARRI Alexa M Camera Head ARRI Alexa M Body BAB-G (Gold Mount Battery Adapter) Bundle Accs Set for Alexa M Center Camera Handle (CCH-1) Handle Extension Bracket (HEB-2) CCH-2 Alexa M (Head) Camera Handle AMC-1 Alexa M Cage -Consisting Of: Side Bracket Bottom Plate 15mm LW Bar Bracket MEDIA M Handle Syst. - Consisting Of: Side Handle (15mm Bars Fitted) Top Plate - Small Bottom Plate SD Card (ASD-1) 12v 2pin Lemo - 4pin XLR BP8 Bridge Plate ( Short ) Balance Plate 19mm / 440mm Bar (Long) 19mm / 240mm Bar (Short) 15mm Lightweight Bar - Short 240mm 24v Camera / Battery Cable 2m Lightweight SMPTE Fibre Cable Sony 64gb SxS Card Sony 64gb SxS Card Sony 64gb SxS Card 20m SMPTE Fibre Cable (9mm Dia.) Please contact me at Casey@esbroadcast.com if you require any further information.
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Hi, my listing for ARRI 435ES camera set, including magazines and accessories. Price is 3990 euro https://www.kitmondo.com/used-arriflex-435es-for-sale-2/ref608356
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Codex CDX-3010 Kit £3,000 GBP (ex VAT) Condition: Used Warranty: 3 Months Case Containing: Codex Onboard Recorder CDX-3010 Onboard Control Panel CDX-P065 Codex Recorder Handle CDX-P064 Control Panel Fixing Plate 6-6pin Panel Control Cable Long 5p Lemo - 3p RS Power Cable Dual Mini BNC Loom 4p XLR - 5p LEMO Battery Power Cable 4 x Codex M Flash Pack (256gb) CDX-P300 Please contact me on Casey@esbroadcast.com if you require any further information.
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Hey everyone, I might shoot a short movie in New Orleans early next year and I want to shoot on film, super 16 or 2 perf 35 mm, and I saw that Cineworks over there had done the film dailies on 12 Years A Slave, Oldboy, etc, but when I saw no new film projects since then in their credits, I sort of wondered if they shut down their film lab and only do digital. I thought I was maybe pessimistic but one of the guys over there just told me they did shut down and only do digital because of lack of work. Great, I saw that Fotokem has a New Orleans office/lab, it says on their website that they do film dailies, all that, but it doesn't say anything about their NOLA based facility, I just sent them an email, but does anyone know if Fotokem NOLA does film dailies? If not, is there a film lab ANYWHERE in Louisiana or close to New Orleans or Baton Rouge, in that vicinity? If not, that would be a goddam shame, and I'm not really comfortable with shipping the film too far away or whatever since this is my first major thing, first time on film, it's important for me to shoot on film but I've been keeping in mind the Alexa, I kinda dread having to wait for a few days to get the film back, in case there's any f**** ups. Thanks !
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Hi, first time posting here. Has anyone tried to shoot 2x anamorphic lenses with 16mm film (let's say kodak 7219 stock) and how did it go? From what I knew, 16mm has 1.37:1 ratio. So use with 2x anamorphic lenses it's gonna be 2.74:1 which wider than 2.40:1. So I have more room to readjust a frame in post right? What about the image quality, does it look good? I did a research online but I haven't seen any decent one yet. FYI: I'm planing to shoot on Arri SR-II, Kodak 7219 and Kowa Prominar anamorphic prime set. Thanks in advance. -
Hey I'm Xoaher currently based in Prague. This is my reel from last year school works. Please feel free to critic and let me know how can I improve. Thank you Xoaher https://vimeo.com/141572957
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Not a very uplifting update from Ferrania. It's beginning to sound like there was very little pre-planning from the start. http://www.filmferrania.it/news/2015/the-domino-effect
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In your opinion... what's the atmosphere of a film?
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Hello Everyone, I am a T.A. in a cinematography class at Arizona State and I convinced my teacher to do a workshop with a 16mm camera. Being how new our Film School is we have no film cameras, only digital, so we are renting an SRIII to show the class and possibly shoot some stuff. My professor and I wanted to show everyone what it's like to shoot on film and how careful you have to be with exposure, how to use light meters, etc., and implementing these structures for when you shoot on digital. Rather than the typical status quo of students just blindly shooting and guessing on exposure. I was reaching out to the cinematography community for help, if anyone has any short ends or exposed super 16 film we could use to help the students with (show how to load the magazines, etc.) that would be amazing. Kind of a long shot to ask on here but I thought it wouldn't hurt. Thanks, Danner Gardner -
For someone that is not going to film school (if film schools even TEACH 35mm anymore), or who isn't planning on film school and just wants the basics of operating a 35 mm motion picture camera, what (if any) options are there to learn? What resources are there and what do you recommend for learning once the resources have been located? This obviously is presuming that the person already has access to such a camera. (Which in my case I do not, but hope to someday; I have films I'd like to make!) I am a photography student interested in making the natural graduation from still photography (digital AND film), to motion picture film. Yes I realize film is almost unused anymore and takes a high learning curve (or so I've gathered), but there's a mystique and an attraction to it I just cannot deny! Questions that arise for me are: how similar is it to a regular 35 mm still film camera? I'm sure motion picture cameras have F-stop controls of course, but what about shutter speeds? I assume photography "stuff" all applies, such as dynamic and detail ranges, inverse square law, keeping highlights and shadows at an even balance, Sunny 16 Rule, composition (a huge one for ANY type of photographer), decisive moment, blah blah all that BS? LOL So hit me up with some feedback, everyone! :) -
Hey Guys, Firstly, just wanted to say hey as this is my first post on here! Right, basically I received my Krasnogorsk K-3 yesterday from an ebay seller. Whilst the description did not note anything regarding my issue, i found as I looked through the viewfinder that there appears to be a fair few marks/hair/dust etc. Now, is this something that will affect my picture at all, or is it something thats purely on the glass of the view finder? ( I can learn to live with it if so) Failing that, how easy is it to take apart and clean said effected area, and which tools would be best for the job? Sorry i couldn't really supply any decent photos as the viewfinder is terribly dim and I can barely see through it, let alone my poor iPhone camera, but you might get the jist! Thanks in advance, Nick
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As I understand it, most big-budget feature movies record on film as opposed to digital; the common claim being that film provides a much more cinematic image, etc. Does anyone think that we'll come to a point when digital cameras are able to produce an image, indistinguishable from film - and that cinematographers will choose digital over film due to artistic choices instead of being led by financial considerations?
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This tutorial will teach you various techniques to sync audio and video in Adobe Premiere Pro and CC. Please like and subscribe for more tutorials.
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This simple tutorial will teach you how to use markers to edit to a beat of a song in Adobe Premiere Pro and CC. Please like and subscribe for more tutorials. If you have any questions feel free to ask.
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This quick tutorial will teach you a very simple technique to batch export multiple clips from Adobe Premiere Pro and CC. If you have any questions feel free to ask. -
Hi, I recently had an opportunity to shoot on film for the first time in my life (crazy, I know) and a question came up which left me thinking.. Apologies as it's probably a very noob question: When I shoot slow/fast motion on digital, I change the shutter speed to maintain the same motion blur as for the 'normal' speed, i.e. shooting on 25p, 1/50 'normally' and then do 50p for instance, I shoot at 1/100 to have the same amount motion blur. Assuming you want the same motion blur, how would you do this shooting on film? I am right in understanding that 180 degree shutter angle will remain 180 regardless of what frame rate you shoot? I.e. shooting 25fps and 50fps means that the shutter turns twice as fast to maintain 180 degree shutter angle? I hadn't noticed but was told that Red has an option for shutter to have either a shutter speed (1/xxxx) or angle (degrees), does this mean if you want to shoot everything at 180 degrees, you don't have to keep changing the angle for different fps? But surely, even if you can capture everything at 180 degrees, in playback, there will be variations of motion blur as the angle was relative to the fps? I.e. 25fps has 180 degrees and 50p has 180 degrees, but compared to each other, they don't match? I would've automatically calculated the difference between the degrees when under/overcranking and changed the shutter accordingly, but I was told by two working AC's that this is incorrect... If anyone can shed any light or knows of any resource on this, I'd really appreciate it! Thanks, PJ -
Hi everybody this is my first time on this website and I thought I would share my first serious beginner film that I put together (sorry for the bad grammar). This was filmed in Tempe Arizona for my company Pointblankperformance, all shot on the Nikon D3100! I filmed with the Glide Gear 23inch slider, ePhotoInc Mini Jib, Polaroid Chest Stabilizer, cheap tripod, Ravelli ATD tripod dolly and the Nikon 50mm f/1.8D lens. There were some slight trouble with the editing software (Adobe After Effects) but I thought it came together alright for a small budget film. I would your guy's feedback for my video! It can be anything, seriously I'm new and I want to learn more! Thanks!
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Music video looking for cinematographer (as well as anyone else in camera dept.), who has experience shooting super16 and can work locally in central/south Texas. Ideally, looking for someone who owns their own equipment. Pretty tight budget, though me, label, artist are fairly committed to shooting celluloid. It's been kind of difficult finding people who are still shooting film in this part of the country, very much looking for someone I can continue to work with in the future. PM or email (matgerbs16@hotmail.com) for more details. Thanks. Matt -
Hello all, So I'm messing around with shots for a film of mine, and I have a scene where a lot is revealed, emotionally (to be simple: a man shoots his brother for the crime this brother has committed). Anyways, my question is: what functions do a pull-back have in a scene? I have it storyboarded to where we have a push-in on the dead body of the brother and then we cut to a pull-back from the shooter (both are iso shots). Any suggestions/comments for this function?
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Hello all, As I've been expanding my crew and becoming more involved with just directing actors, I've been looking to buy an external monitor for my BMPCC so I won't have to work back and forth to check shots. My question is, do any of you guys have a suggestion for an external monitor for the Blackmagic that is under the price of $200? Thanks! John
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Greetings, I've been searching this site for days trying to dig up information on the best practices of doing a photochemical project. I would like to do my next project on film, start to finish. I would like to edit workprints, and learn to conform a negative. I would like to go through the process of optical audio on answer prints. I understand that in this day, it is a practice that is generally not done. I am familiar with the D.I. process and how those types of edits get back out to film, but I am less familiar with the analog side of the art. If there is a book (surely?!) or other resource that could help me along, that would be welcome. Please see if my understanding so far is correct: 1. shoot principal on film 2. send to lab for processing 3. get one-line/timed print (this is the workprint) <-- Audio is recorded to 16mm mag stock at this point from origial source? 4. edit workprints to make a complete project 5. create internegative?? 6. create answer print? I don't really understand this A/B roll thing 7. conform negative to final answer print using edgecodes 8. release print struck from conformed negative? 9. I can always have a conformed (or original for that matter) negative scanned if I want to go digital... I'm sure thats wrong. But it's a start. I have access to 2 Steenbecks (16mm), 4 gang syncros, hot splice, tape splice, rewind tables. I own a 16mm projector with optical sound, but it may be mono only? Finally about the cost; processing and workprints seem to be about $50 more expensive than scanning. Thats fine with me. Am I dumb for trying to learn this stuff hands on? Thanks for your help.
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Hello all. I'm a newbie here and this is my team's story: We love cars, we film cars... that's what we do... That's not just a showreel. That's how we live and breathe cars. That's why we traveled to half away across Europe, looking for thrilling automotive stories behind corporate projects or passionate individuals. Thousands of km, countless flights, more than a dozen European countries and piles of HD media fused to an action packed timeline . This is Manos, Kostas and Orfeas; we each created our own personal path that led us to the three opposite edges of a continent, but these paths are crossing every time we feel the need to tell a new story, to create a new project. This is our story combined, this is Kinisis.... Hope you like it!
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Hi there everyone, Just wished to know what kind of circular filter would fit/cover a zeiss 11-110, a super 16 zoom lens? Will a Tiffen 86C from B&H photo video be good enough? thanks
