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I was recently accepted to both UCLA and USC's film schools but I am having a very, very tough time making a decision. I will be a freshman this fall and I'm 100% sure I want to be a filmmaker. Throughout my life I have always been interested in writing. I started writing short stories in elementary and transitioned to writing screenplays in high school. My major for UCLA is Film & Television and my major for USC is Film & Television Production. I'm especially interested in Screenwriting, Directing, and Editing though I know I won't be able to declare concentrations until my junior year at the earliest. Also, I am from California so even though USC is more expensive, out of state tuition is not a factor. UCLA has been my dream school since I was nine years old so I'm completely incapable of making a non-biased decision here. Both are great schools which doesn't make this any easier. I love UCLA's campus and the creative freedom that comes with their film program a lot more than USC's, but USC comes with the trojan mafia which opens so many doors all on its own. I'm really stuck here and any advice would be helpful. -
I've became really passionate with Cinema in the past 3 years, and before that I was already passionate about photography, for about 6/7 years now. And so I've decided that I'd like to experiment on this journey of filmmaking since it's something I quite enjoy doing and am currently studying. There's a lot of independet DSLR filmmakers now which is amazing. And so I've decided to buy a new camera! From my previous experience with photography, I'm more of a Canon fan since I first started with the classic Canon AE-1. I don't really have a big budget, but I'd like to invest in something that has quality and is worth the price, and that will be able to last me a couple of years until something greater comes along or I am able to afford a better one. Since I am between photography and filmmaking, I was looking for a camera with both. Or would it be better to just invest in a filmmaking camera? (I own a Canon 1000D for photography, but it doesn't capture video.) And if I do go for a DSLR with both photography and video, I thought about Canon 70D, since I can't afford a Canon 5D and I think it might be a little out of my league yet. So please, I'd appreciate some opinions if possible! :)
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Where to start?
Tabitha Newton posted a topic in Students, New Filmmakers, Film Schools and Programs
I'm from London, 16 years old and female. Ever since I first watched Alfred Hitchcock's 'Psycho', I knew I wanted to be a director. I became obsessed, I watch all of his films around four times each and went through each one, studying the use of his particularly dramatic and iconic instrumental music and the use of his camera angles. I want to be able to write my own screenplays and put a team together to collaborate and put it to life. I've already started writing a few, one of which was a adaption of the novel 'Of Mice and Men', which was used for a stage production. I'm also writing with a friend of mine, a crime avant-garde inspired story, with which we are going to film. However, I know I need direction. I understand that this business is extremely bitterly hard to get into and to make a living, but this is all I want to do with my life. I wanted to ask a few questions: 1.) Is it hard for a female to get noticed in the film industry? I don't mind working in a mostly male dominated industry, I just know that there aren't as many women who film, compared to men. 2.) Camera recommendations and lenses too. I need to find a camera suitable of shooting raw material. 3.) I noticed that a lot of film directors never went to university, they went straight in by doing apprenticeship type work. I would never be able to do that, so I know I need to go to university. What would be a good choice of one in London? 4.) Lighting equipment. I would like to know what types you use. Thank you for reading. -
For the past few months I have been trying to properly construct my first demoreel. I can't decide if it is good or bad because I don't know how a normal demoreel is usually structured. I don't know anybody that video edits so i figured I'd ask you guys for your opinion and helpful criticism. How should a normal demoreel be formatted? What is the typical duration of a demoreel? Are there any other specifics that every demoreel consists of? Here is my attempt at my demoreel... I feel that it is not ready yet though so what do you think? How could I improve it? https://www.youtube.com/watch?v=Kv2N4T8glhs BTW this is my first forum post ever. I've never been apart of a forum until now so I apologize if this is not the proper way to ask for opinions on a project in the making. Thanks!
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Hi. Im trying to emulate the yellow light used in many resent movies. Im having a really hard time, im shooting on a blackmagic pocket cam. My light usually tuns out orange or brownish, but im really loving the yellow light. Some help please :) ?
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Hi Cinematography.com, I'm a second year film student and an aspiring cameraman/D.O.P. I am currently working as a junior editor at a production house for the summer, and am wondering what I should invest my money on once I've compiled enough when school starts! At the moment, I am wondering if I should invest in two decent lenses, lights, filters, and grip stands instead of a camera body such as GH4 + lens. The reason is because I will have another year of school, which means access to cameras such as F3 (Hell even Bolex h16) till April 2015 + 6 months graduation equipment rental blessing from my college, and by then I'm kind of worried that the next best deal will be released. Also I am not too crazy about 4K resolution or slow-mo... I'd much rather prefer that Wes Anderson X Robert Yeoman look or films by Hirokazu Koreeda. (I am a wide-lens fanatic) So my question is, would it be a wise choice to invest in equipments other than a camera body? Or should I be focusing my attention on something else? I'm hoping whatever I will squeeze out of my 5 grand will help me on the long run rather... If you can help me with my inexperienced and confused self, then it is very much appreciated. THANK YOU. -
I'm a senior in high school and I really want to go into the film industry, the problem is that I live in one of the smallest towns in Alabama with very little money. I have no idea how to get started, or where to go, should I go to film school? I really don't want to be 80,000 in the hole but to accomplish my dream I'll honestly do just about anything, does anybody know what I should do? The only experience I have is filming my schools athletic events for the coaches with a home video camera, please help if you can. Thank you, Peyton -
Hello there! FIRST OFF: WARNING; I am complete NOOB in this field so expect to see something really bad. I am just posting this to get some basic feedback on how to present myself on video (how I should stand, look into the camera, how I should move my face muscles when I speak and so forth), some lightning changes, editing changes, etc.,. My purpose of shooting video is appearing as a "spokesperson" (so yes, I am definitively wearing the wrong outfit). I will get better clothing, another mic instead of the one inside my camera and a complete white background since my camera has "wrong" color sampling 4:2:1 for using green screens (if I understand things correctly). I just wanted to try to shoot something and edit some in Adobe Premiere Pro CC to get some feeling. https://www.youtube.com/watch?v=63vvsATq9U8 Film was shoot with: Canon LEGRIA HF G25 in Cinema Mode (a button you can choose; this one, auto or manual mode). I also used two softboxes which is why you see two shadows (and I added artifical lightning in Adobe Premiere Pro CC, just to play around). I added used "expander"-preset inside "Dynamics" which is an Audio Effect in Adobe Premiere Pro CC to cut away all background noise which the camera otherwise pick up. I'm deciding on whether to get a shotgun microphone or TRAM 50 lavalier. What are your suggestions? I am also curious on how to do with the lightning, how close or far away I should be with the camera so I can use the "rule of third" (standing in the middle just look like a poor mugshot if you ask me; my room is about 3,5 meters wide where I stand; yes I will shoot in my apartment). I will also get some simple lightning above my head so I can "pop out" of my, upcoming, white background. Feel free to give harsh but well-meant suggestions on what I can change 'till my next video besides the obvious clothing, hairstyle, added make-up and such. I am very excited to hear from you professionals and highly experienced film- and/or promotional video makers. And yes, you may laugh your butt off at my bad video! ;-) Take Care & Have An Awesome Day! / Max K. -
Hello fellow cinematographers, I am shooting a short film in a few weeks and have been on a few locations recces this week and at almost every one of them the issue has been reflections on the windows. The film is based at night in a launderette so the windows almost look like mirrors. I know that a possible fix would be using a polariser, but the main concern is will it really help that much or will i still be fighting the reflections of lights and crew in the windows every time i look their way. Are there any other alternatives to reduce reflections? Any help is greatly appreciated, thank you! Thomas Terminet Schuppon
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I'm 16 years old... Yes somewhat young but I have lots of inspiration and I'd say I'm fairly talented with multi-media. I've been learning after effects for over a year now, using it to edit Call of Duty gameplay which particularly involves VFX, Motion tracking, editing techniques(art), cinematic, time-remapping and editing of-course. It is actually very impressive how the Call of Duty editing community has mastered after effects with call of duty footage. Any of you should absolutely take the time to check out some very talented editors; if you're interested i'll refer you to some of them! It is a whole new level of editing and I'm grateful to have started with something without having to use IRL footage from a camera. I could now apply myself to IRL footage and such. I truly want to master a position in the film industry. I'm so inspired by some films and the art of cinematography mixed with editing.. Whether it's an editor, cinematographer, camera-man, or even the whole package. Whether it's to my own profit, a big company, a festival.. I want to learn all about cameras and technique just like I did for editing. Question #1: I'd like to know about what sort of education and/or diploma is needed to get a job at a big company or a big film project.. Those camera men/cinematographers who reach Hollywood; what got them there? Was it recognition and connections or was it schooling/diplomas etc. ? A few examples of cinematographers/camera men ? Question #2: What camera aspects should I look into? (I'm new to the whole thing) I have done some research on the Panasonic Lumix GH3 and came to mind that there are so many features and aspects to reconsider before I buy a camera, a film maker uses that camera and there's a very nice outcome (a slight panoramic, film looking, well toned).. References to some books, youtubers or links would be great. That's it for now... I hope I'm not asking for too much, I guess I could tell I'm pretty passionate about this lol. Thanks ! John from MTL, QC -
Hi Everybody at the www.cinematography.com Forum, Thank you for everybody's wise words and great advice, I have come on a great amount since I have started following this forum. I have just finished a short film (about 35 minutes in duration) for my 3rd, and Final, year in University. I am studying 'Film & Television Production' in the UK and would love any creative/constructive criticism that people have so that I can improve/gain some skills. This is my first short film i have lit myself. Here is a trailer that our group have produced, i'm looking for advice to do with lighting rather than trailer editing (as I only had partial input on this). Obviously it goes without saying we don't have copyright for the songs used but this is okay for our module: This was shot on a 5D mk II (as is commonplace for student films). Many, many thanks for the time taken to watch the trailer and provide feedback. All the Best, Jonny Treherne P.S. I apologise that this is a re-post but I believe this is the more relevant thread.
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Good evenining to everyone, i'm writing this topic because I need help with a project for university. First of all, sorry if this is not the right place to ask for help! Here's the exercise: We have to create a movie, within various movies. We need to choose around 10 films and make them work together, through cutting, creating a whole new narrative. It's not a "mashup" or "remix" movie, it's a movie created by various movies where they combine together in order to get a new narrative and make sense through the rules of classic cinema cutting I tried to search Youtube and Vimeo for examples but all I can find is "mashups" within the best movies of this year or previous ones.. I'm sorry, English is not my native language, but I think I expressed myself correctly! Thank you all, I hope somebody replies me! -
Hello all, I'm interested in discussing mentorship as an option for learning and refining skills. Going to film school isn't an option for everyone. What would a Cinematography mentorship look like? What is the bast way to approach somebody for a mentorship? I'm asking because I'm looking to work with and learn from an experienced cinematographer and I'm sure many others out there are looking for the same thing. I have some experience myself and am going to be making a major camera purchase soon. I'm no beginner but I'm not advanced. Is there any experienced Cinematographers out there who have done this? What was the experience like? Thanks
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I bought a nikon 35mm dx to connect to my 5d mkiii but when I move the focus the shutter is seen on screen. Is there any reason for this? I've being looking for answered everywhere.
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Hello, I right now am a photography student, but I love cinematography. I have heard of many people who start off as photography and then move into cinematography or vice-versa. I was just wondering what you guys think is better. Do you think it is better to get a degree in photography or in cinematography. I have never really done any cinematography stuff but I want to do more in it. I can't decide if it is worth is to transfer majors or not. What do you think? Also if i do end up going with cinematography do you think i would still be able to do photography on the side? I am just lost and looking for a little advice. Please let me know what you think. Thanks! -
Hey guys, please take a look at this reel and let me know if it is close to be ready for job applications. Or should I wait and build it more.. Just looking for honest opinions. https://vimeo.com/73787855
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Dead ED - Hundreds of years after a nuclear world war, Khan and his companion, a service-droid, ED set out to purge the nuclear wasteland free of radiation. Friendship is tested and temperance is stretched when the two are pushed to their limits in the deadly country. Hello fellow filmmakers! We are film students who are creating our first independent movie titled DEAD ED. But we need help. We launched a Kickstarter to help secure funds for the project, and we need an extra push. Please help us out by donating or sharing the page. Every little bit helps. www.kickstarter.com/projects/634010533/dead-ed Thank you!
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Dear font of knowledge - also know as users of the cinematography forum, I am sure you have been asked this question many many times over, however I am afraid I am throwing myself upon your mercy again! I am from a small company based in London, and I have a bit of a problem.... I have 4 rolls of Kodachrome 40 film, newly shoot, sitting on my desk but with no place to go! once I received these rolls and looked into developing them I was very quickly told that no commercial companies anywhere in the world develop these films as the chemicals used are no longer being made.. The developing house I was speaking to however said that there may be entrepreneurs and super 8 enthusiasts that may have this golden grail of chemicals and be developing their own Kodachrome 40. And who may ever so helpfully be willing to develop mine? :) – I am not sure if this is true or even possible, but if it is, please get in touch. I have also been told/informed that Kodachrome can be developed in black and white. Has anyone done this, know of the results to expect etc etc. I am absolutely desperate to get these films developed – and I’m hoping that someone reading this will help with my plight! Many thanks for taking the time to read this. Best Claire
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I recently purchased a reloadable super-8 cartridge from Wittner and I'm extremely confused about where to cut the ASA notch. I bought the CHROME 200D film which is Daylight: 200 and Tungsten: 50. Please could someone tell me where to cut the notches for this stock? Or somewhere said something about not needing notches for daylight film? Im very confused. I have been trying to use this guide: http://peaceman.de.www127.your-server.de/schmalfilm/super8/S8_Notch_Tools_v1.0.pdf But I'm struggling. Please could someone tell which notch to cut to on this guide? Thank you! -Harry -
I have recently been accepted to Ryerson film studies and Concordia for film production and I'm having a rather difficult time deciding. I'm curious which program is considered to be better than the other and what one program offers that the other does not. I need to accept one of them very soon, any insight is useful. Thank you -
Hello, I'm relatively new to DV and recently installed version 9 after coming from 8.2. I've looked around on the net for problems regarding this issue and have basically hit a wall - the problems that most people have had were with the same anomaly I've been trying to deal with. Problems: Finalized file has a bar at the top of the video that flickers on and off. The entire frame will do this as well randomly throughout a clip. Along with the above, say I apply a LUT and grade it, then render. In the final file the video flickers back and forth between the graded footage and the stock footage. -- I haven't had any noise issues or anything of that sort, just random flickers -- Possible Solutions I've found and (or) attempted: Upgrade to the latest Cuda Drivers - 5.0.35 Disable SLI (tried rendering with 1 GPU and still had problem) Check frame rate to make sure the master matches the file Tried rendering as multiple filetypes Disable all audio * there might be some others but they don't come to mind right away, what I did find is that a lot of the macos users that had similar problems needed an OS update. ------------------------------------- The footage was shot on a 60D, 1080p @ 24fps as a .mov The media rendered, was rendered to a .mov along with a .#res file as well. I've included my project settings below - feel free to point out anything that seem obviously out of place ^_^ Along with that, here is a clip of the actual problem. NOTE: The flickering at the end of the video is not the candle. You can also observe the bar at the top of the frame that spans horizontally while flickering. http://lanelehman.com/V1-0001_MVI_9526.mp4 System Information: Operating System: Windows 7 Professional 64-bit (6.1, Build 7601) Service Pack 1 (7601.win7sp1_gdr.120503-2030) Processor: Intel® Core i7-3930K CPU @ 3.20GHz (12 CPUs), ~4.2GHz Memory: 16384MB RAM DirectX Version: DirectX 11 Display Devices: Card name: NVIDIA GeForce GTX 560 Manufacturer: NVIDIA Chip type: GeForce GTX 560 Display Memory: 4050 MB Dedicated Memory: 978 MB Shared Memory: 3072 MB Current Mode: 1920 x 1080 (32 bit) (59Hz) Driver File Version: 9.18.0013.0694 (English) Driver Version: 9.18.13.694 Card name: NVIDIA GeForce GTX 560 Manufacturer: NVIDIA Chip type: GeForce GTX 560 Display Memory: 4050 MB Dedicated Memory: 978 MB Shared Memory: 3072 MB Current Mode: 1920 x 1080 (32 bit) (59Hz) Driver File Version: 9.18.0013.0694 (English) Driver Version: 9.18.13.694 Thanks for any replies I get here, I really appreciate the time taken to read all of this. My search for a solution to a working version of v9.0 continues!
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Single perf 16mm film. Perf holes on the other side! Help
Guest posted a topic in Film Stocks & Processing
Hi, I'm trying to get used to load 400' film in darkness (on the light for now of course). But, when I got film from the can it looks like perf holes are on the other side of my magazine perf teeth and camera registration pin! What's wrong? -
Seeking Help
Desiree Weinhofer posted a topic in Students, New Filmmakers, Film Schools and Programs
Hey guys! I'm 17 years old and started out as an amateur cinematographer about four years ago. I've been doing a few amateur shortfilms and other stuff so far, but never totally on my own. Last fall I got the ultimate opportunity to join a production/filmgroup as their new technical manager and cinematographer. The group consisted of four boys, who'd produced two feature-lenght films before and they took a pretty big risk with me, a girl who'd never worked this professional and with that much responsibility. Anyways, we shoot the movie last week and I used a Canon EOS 7D. While going trough the material we noticed a white spot near the center of the image. Examining the spot closer, I realized it must be a pixel error on one of the lenses I used. It consists of four pixels (white and three gray tones) and to my misfortune it's clearly visible on most of the footage. Now, I'm familar with all Adobe programs and Cinema 4D and my question would be: Has anyone got some advice how I could cover, erase or fade the spot easily? I'd be so happy about any help. It would really be lifesaving! Bye for now and thanks in advance! Desirée
