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Found 20 results

  1. Hello everybody. I just got my chance do a music video for an accomplish singer. I will be the cinematographer. There are two shots the director wants to get. Fortune cookie is the main element in the video and the story. The director wants to see the shore line filled with fortune cookies as the waves are bringing them to the beach. As an alternative we can use a mountain of fortune cookies at the beach. Since we don't have permit to shoot at the beach and throwing the fortune cookies in the ocean is not possible I am trying to find a way to achieve this by using practical effects. The bigge
  2. Hi everybody I am preparing a shooting as a gaffer, on a non-stage interior and I am looking for the best way to light a 6x6m. (20x20') green screen and white screen. Here is the camera configuration: Red epic dragon (maybe an Hellium sensor, depending on the production department) 25 fps 1/250 ISO 800 Zeiss CP2 The topic of the video is a free-fall simulator demonstration. We are shooting at night for day, in an area from a shopping center measuring 14m. large x 7m. long x 14m. tall (46' large x 23' long x 46' tall). There are not structures to hang on the fixtures. On th
  3. I have recently accepted a project that takes place entirely in an antique rail car. Because the train is located at a transportation museum it does not have the ability to move. Another challenge is the film is set in Morocco. The initial plan is to use green screen to key in the exterior. My bigger concern at the moment is how to make the train look like it is moving without any hydraulics or mechanical mechanisms. I would appreciate any tips or experiences others have had shooting stationary vehicles with green screen and getting a realistic cinematic result. Both camera and lighting tips
  4. Greetings, First off, my apologies for not writing a shorter and more concise piece. I will revise this post as time permits - Think of this as a living document. During a recent creative meet for an upcoming short, the idea emerged to simulate parts of a living room appearing on fire during a dramatic dialogue scene The thought is to simulate fire illumination and smoke and composite pyro physical effects plates in during post. We will be shooting this in 8K anamorphic at low compression ratios Think of the end sequence of "Barton Fink" and some scenes from "Synec
  5. Hey Guys, I don't really have a vfx background, and it would be fantastic if you could help me out! Attached below is a still (and a link to a video) of what I am trying to achieve. I'm looking to shoot a music video that uses forced perspective (mainly band performance stuff), and I am not quite sure how to go about making it look right. To give a little more context, I'll be shooting with an A7sII camera. My questions are as follows: 1) Did they use a green screen for the people? 2) How do you make the person match with their background? I know lighting is a huge part of it, but I'm refer
  6. Dear wisest of cinematographers, In the course of my matura I am required by the state to write a 40k-60k characters long academic writing about a subject of choice in form of a question. The question that I came up with a year ago was: How does the job of a cinematographer in a project using almost only green screen change? (As seen in Gravity or most parts of Avatar) So this in mind I then started researching and writing. In order to finish my writing I am now asking you, the community, for an answer to that question, a conclusion if you will. Cheers, Laurin H.
  7. Good day Please see the following link to a scene out of the 2009 film Mr Nobody filmed by Christophe Beaucarne. http://www.youtube.com/watch?v=90CpBg7J-DY I would like any advice on shooting a shot similar to the following scene: A character walks towards a mirror in a room, the camera follows from behind. We see the character look at himself in the mirror. The camera tracks into the mirror and it moves to show a full frontal POV shot of the character looking directly into the camera, as if he is looking at himself in the mirror. The camera then follows the character out of the room,
  8. Greetings Cine-Buffs My next short film is a one room set up, and requires the room to be filled with large movie posters on the wall etc. Has anyone had experience with using green screen for wall posters or billboards or anything similar? and if so how would you go about shooting this and then the post production on this? Any help would be greatful!
  9. Hello! I am working on a project at the moment and need some help deciding on a way to make the background. The location is a set of a crossing at a road and i need it look as though the background is a continuous street/city. The background itself is never going to be in focus but will be in shot from time to time (At least 3 of 4 directions). The street is 11m wide and the centre of the crossing is 20/30m from the background. I have 3 options that i am considering. A. Printed sheet with the image of the background B. Green screen C. Rear Projection I am just trying to figure out
  10. I'm new at this and have a quick question that maybe someone with more experience could give me a heads up on: I need to shoot an actor (full body + shadow) against a green screen INSIDE. That part is okay. Problem is I need to make it look like it was shot in sunlight from a shadows point of view. When composited, the studio light gives distorted shadows because of the close proximity of the light to the subject (a few feet) as opposed to the backplate (the sun, a couple of million miles). In CG (my previous gig) this light would be called 'infinite light'. How do I get p
  11. Hi there, For a new film I'm shooting we need to shoot a 'limbo' scene, where one of the characters in our movie is essentialy floating through empty space, nothingness. Now I'm new to visual effects cinematography, and my question is: how do you do it? I have two possible scenario's in my head: 1. We hang the actor in a theather in a special harness, and we film him infront of a white screen / green screen. We use a steadycam to float in a subtle way infront of the actor, so it will seem like he is floating. Problems: Our actor is quite heavy, and you will probably see it tha
  12. Hi, I’m looking for a car cinematography specialized DP for a high end SPEC commercial. Green screen experience is required as the featured car will be driven on a large green screen cyclorama. Although a car specialist, this person must be good at lighting people as well. The shoot will take place on July 25-26 in Los Angeles. Non-Union shoot. Pay negotiated upon experience. Please apply only if you specialize in car cinematography. We need to confirm someone ASAP. If interested, please email a link to your reel/portfolio to crewapplications@mzo.tv Thanks.
  13. I have an upcoming project where I've been asked to film floating blue orbs around the talent a la "Starman". My initial thought is to shoot anamorphic, float a battery powered small source on some monofillament, and composite/track over the source with a light aura of sorts (retaining the flare). I think this MIGHT work, but in these examples there are clearly larger sources being used. They also seem to be coming from relatively the same area as the orb itself. Due to the obvious keying/compositing (you can see the black matte lines when watching the film around the
  14. Hello to all, I need to shoot an LED TV, the content will be added in post production so it needs to be a clean Green for keying, however I did some tests and the Moire Patterns that appear are unbearable. Im shooting on the Red Dragon so it is not a compression issue. Any recommendations on how to deal with the problem? The patterns disappear the second it's slightly soft, but I rather keeping the television in focus. Thanks! J.
  15. Hello I have a project where we need to capture a golf swing which apparently reaches speeds of around 100mph. It needs to be shot green screen and of course the golf club needs to be free of motion blur (as much as is realistic to achieve) throughout its travel. Now I haven't done much high-speed work before but I do know this is going to need a staggering amount of light, not only for the golfer but the green screen too. It will be shot on location so no access to large lights, so my thoughts are to shoot exterior daylight using Phantom. Any idea of suggested frame rates an
  16. Hi folks I'm shooting a short film in a few weeks and I'm figuring about a car scene with two actor having a dialog while driving, and how I should go about that. First of all, we don't have much of a budget, so a even though a car trailer would be the optimal choice, we can't afford it unfortunately. Any recommendations of how to shoot this? My initial idea was to shoot this infront of a green screen with tracking marks on set, to take advantage of the existing light. By doing so we could use a hand-held camera to add a sense of realism with the background moving (very slightly)
  17. Hello, I've been reading various forum posts and articles on chroma keying, but I've gotten a bit stuck on the issue of shadows. I know it's preferable to not have any, but what can you get away with? Below are links to photos of my set, which is a circular room currently painted (badly) white, and lit by 8 fluorescent lights that sit evenly around the top of the circular wall. It's essentially a time-slice / bullet-time setup, with 8 cameras capturing the same action from different viewpoints. I want to paint the whole room with chroma key green to isolate the performer, but I'm worried that
  18. We are looking for a videographer for a quick HD green screen interview. The screen must be big enough to get a wide shot. Time frame is in the next week or two. Email rates and availability and camera details kevin@kandervision.com
  19. We are looking for a videographer for a quick green screen interview. The screen must be big enough to get a wide shot. Time frame is in the next week or two. Email rates and availability
  20. Hello guys, Just thought you might like to see my latest music video. It’s not cinematography in a photographic sense; it’s mostly animation. That said, I’m sure lots of the same creative thought processes can be applied to both animation and photography. Let me know what you think. Thanks to Rob Skene who helped me make the video. Some other notes, it was made using Final Cut Pro 7, Blender 3D, After Effects, Photoshop, a Canon 550D,a green screen, and lots of pen and ink. Also it cost 0 money to make. http://www.pjscottentertainment.blogspot.co.uk/#!http://pjscottentertainment.b
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