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For Sale Pre Owned Phantom FLEX4K ULTRA 64GB Color Camera W/ PL Mount & CINEMAG IV 2TB Asking $98,000.00 Comes with 1-Phantom View Finder (OLED with Bracket) Images Phantom 4k Flex Package 1-VRI-BATT-MNT-AB Battery Mount, Standard Anton Bauer Gold Mount for Flex4K 1-Anton Bauer QR HOTSWAP AN-QR-HOTSWAP SHARKFIN -AR Snap-On Hot Swap for ARRI Alexa Camera 1-C400 Cine-Style Riser for Phantom Flex 4K Arri Dovetail 12” Arri Bridge Plate BP-9 Set Short (15mm Rods) AR-339862 Phantom 4K Flex BNC TRIG/TC/AUX Onboard Breakout Box Trigger Pickle Switch – VRI-TRIG-PIC CINEMAG IV 2TB CineMag IV 2TB CineMag IV Phantom 100 foot Custom Loom 1650 Pelican Case 4-100 FT BNC 1-100 FT Phantom PCU Cable 1- 100 FT Phantom Fisher to Ethernet Cable Phantom 4k Flex Package CINESTATION IV CineStation IV Cinestation IV Power Supply Osha Cable ATTO ThunderLink NT 1102 (10GBASE-T) – ATTO-TLNT-1102- 10Gb/s ThunderboltTM (2-port) to 10GbE (2-Port) Desklink ATTO ThunderLink Power Supply Osha Cable Thunderbolt cable - AP-MD861ZM/A Apple - mini-DisplayPort (M) Thunderbolt cable - AP-MD861ZM/A Apple - mini-DisplayPort (M) - mini- DisplayPort (M) - 2 m 5 Pocket Equipment Bag Pelican Storm Case 2450 Innerspace Custom Foam Insert for Phantom CinestationIV, ATTO Thunderlink, CinemagIVs, and AKS to fit in Pelican Storm iM2450 case - CAT6A Shielded Patch Cable Blue 3ft. - 2 CO-CAT6A-3BLU* Glue Tools Software License Cables Arri ALEXA 12V Accessory Cable to 4-Pin XLR KC 154-SP-S Thunderbolt cable - mini-DisplayPort (M) - mini- DisplayPort (M) - 2 m 2-Phantom Flex 4K 12V Pigtail – AB-P4K-XLR4-12V Pamona HDSDI Shorty BNC with Coiled Shorty Power Hirose 4-Pin Breakout Cable, Capture For MIRO M Series, Trigger, READY, IRIG-IN, IRIG-OUT, VIDEO, Power, AUX - 1 VRI-2MA5017-01 2-10 Meter CAT 5 Ethernet Cable for Phantom 4k FLEX 5 Meter CAT 5 Ethernet Cable for Phantom 4K Flex 2-XLR3 to XLR3 Power Cable – 10' – AB-XLR3-10 PCU 25' 5-Pin Controller Cable – AB-PCU-190-25 PCU 2' 5-Pin Controller Cable – AB-PCU-190-2 PCU 5' 5-Pin Controller Cable – AB-PCU-190-5 CAT5E 25' RJ45 to RJ45 HDSDI 2' BNC LapTop Macbook Pro 15” Macbook Pro AC Power Adapter Macbook Pro AC Power Adapter OSHA extension Apple Thunderbolt to Gigabit Ethernet Adapter ADDITIONAL ACCESSORIES (AKS) 24v Power Supply - AB-PWR-SUPPLY -221W-24V 221W 24v Power Supply 221W / 24v Power Supply AB-PWR- SUPPLY – BACKUP OSHA for 24v Power Supply Vision Research Camera Control Software Printed Manual OSHA – BACKUP REMOTE CONTROL Vision Research Dongle II, Phantom HD/65 Bluetooth PCU2 Tenergy Power Package - AB-PCU-280 WD Soft case for Power Package USB 2.0 A type to Mini-USB PCU2 Control Unit for Phantom - AB-PCU-200 SNAPR Soft case for PCU2 HTC AC to USB Adapter USB 2.0 Type A to Micro USB Neutrik RJ-45 to RJ45 Coupler HP 17” Backup Laptop Windows 8 HP 17” Power Adapter CASES Phantom 4K Flex Innerspace Grey Hard Case – w/wheels and handle 1600 Pelican Case 1020 Pelican Micro case for Vision Research Bluetooth Dongle 5 Pocket Equipment Bag 5 Pocket Pouch (Backup AKS)

Wednesday, May 13, 1:00 PM, PDT - Join DP's Ben Kutchins and Armando Salas, director/camera operator Ben Semanoff and art director David Bomba, ADG, in a live conversation about the Netflix series “Ozark” and learn how they evolved the show's dark, picturesque look in season three. Full Let's Talk Cine/NAB Express program here: https://bit.ly/NAB2020LTC. Click the session card and register using the blue Zoom link below the session description and time. David Geffner, ICG Magazine executive editor, is moderating.

Hi I wonder what is your roughly consultancy price list for cinematographers. Either if hourly or daily. Cheers

Selling my Sony F23 with IF Box and Zacuto Baseplate. L Handle is permanently secured onto the body and can not be removed. Camera is in mint working condition and delivers a beautiful image. Asking $1900 (or best offer). Shoots native 1920X1080 Progressive or Interlaced frames. Both PsF modes and I modes available. Color space can be controlled to 4:2:2 or 4:4:4 RGB. In Camera frame ramping from 1-60fps can be done via optional SRW1 Deck (not included), but can shoot 60p via an external recorder that supports it. (I also have a fully functional Sony SRW1/SRPC1 Combo that has the 102 and 103 board installed for 4:4:4 frame ramping and 60p recording. Works great with the F23. Asking $800 obo for that. Email me for pictures of that unit) Comes with the following -Sony F23 Body -Sony IF Box for F23/35 (this allows XLR Audio and 4:4:4 color space via dual link connection HD SDI). -Zacuto Universal Baseplate -L Handle for Sony F23 (the unit is permanently secured onto the camera and can not be removed) -Sony F23/35 Asst Panel with connection cable No viewfinder, power source or lens, rails are included in this sale. Feel free to ask me any questions. The quickest way to contact me is digitaltproductions@gmail.com Please, all emails are for this sale only, no solicitation or spam. I accept Paypal, Vemno, Google Wallet for payment. No checks, No Money Orders. If you are in the Denver area, I can meet you in person and will accept cash. Thanks for looking.

Hi, I´m selling my set of Sony Cine Alta lenses, consists of: 20mm T2.0 25mm T2.0 35mm T2.0 50mm T2.0 85mm T2.0 135mm T2.0 All lenses are in mint condition, 100% Some of them was used only 2-3 times. + you will get PELI case for free. Lenses are located in Bratislava, Slovakia PRICE: 7200 € ex VAT (and shipping costs), 8450 € incl.VAT

I’m a new amateur filmmaker located in Massachusetts looking for places to rent nice 16mm cameras preferably eclair, arri, bolex. Anywhere in Massachusetts or near or anyone in mass. Also what’s the best place to learn how to film with film cameras

Selling my lovely, maxed-out Sony F3. You won’t find a better version of this camera anywhere - this unit has both the RGB 4:4:4 upgrade (for 10-bit 4:4:4 uncompressed output) and Element Technica’s amazing body armour modification, which strips away all of the handycam-style nonsense of the original F3, and turns the camera into an incredibly solid and genuinely production-friendly machine. They called this thing the “Baby Alexa” for a reason, with full 4:4:4 colour subsampling, huge dynamic range, and incredible low-light performance (due to its massive photosites), when you pair it with an external recorder, you get fantastic images in 1080p up to 60fps. I’ve been using it as a B-camera to my Alexa for the last few years, and it’s kinda remarkable how well the image from the Sony keeps up. It’s been very well looked after and is in great condition, with a low 677 hours on the body. The baseplate also includes a rear 15mm LWS rod clamp (not pictured) for mounting a v-lock plate or other accessories. It has a great set of built-in pre-amps, so for documentary interviews, or corporate shoots where you need to run sound into the camera as well, it really works a treat. So if you’re after a cheap, but powerful S35mm camera, with the reliability that Sony’s Cinealta cameras always deliver, and don’t want to deal with the mess and complexity of the mirrorless cameras, this might be of interest to you. Looking for $3,200 AUD (ex. GST) / $2,400 USD Located in Melbourne, Australia, but happy to ship worldwide.

I'm relatively new to drone (18 months) but have found that once you have learned the controls it simply becomes another "tool in the box", another way of placing your lens in different or unusual places. I have a passion for landscape and enjoy trying to tweak the HLG (HDR) format to its full potential. Still learning but enjoying the ride. https://vimeo.com/335046212

Hi, Im a new member to this site and the world of filmmaking so I would like some experienced individuals teach me what a good first step would be to take

Fellow artists, my name is Qazi, I am a professional Cinematographer, Editor, Colorist in LA. I run a studio called The Post Village. For those who are brand new to filmmaking and not sure what's next. Let's start here. I curated a list of essential PRODUCTION gear you need to get started and become the ultimate content creating machine. Watch the FULL video here: FREE LUT (Teal and Orange) included for those who are interested. Created from scratch by me. I will show you how to properly use it at the end of the video. Check the video description on YouTube. Bless up!

Hey there! I just created a small piece regarding film (photography) I'm looking for critique on this piece. I realized that when I scaled my C4K from the pocket 4k to a UHD timeline, some of my clips towards the end) apparently weren't scaled correctly so a white line pops up on the right side of frame. (Lame because it doesn't show up in premiere's editing windows) Also banding is insane with YT compression so a couple of shots you notice it quite a bit. (Tried to minimize it with grain added) Anyways, thanks for stopping by and drop any tech questions you have below as well!

RED Digital Cinema® released its RED R3D® SDK and accompanying REDCINE-X PRO® software with accelerated decode and debayering on NVIDIA CUDA® platforms. By offloading the compute-intensive decoding and debayering of RED R3D files onto one or more NVIDIA GPUs, real-time playback, edit and color grade of 8K footage is now possible. Benefits and efficiencies of this new software-hardware combination during the post-production process include: • 8K real-time 30 fps or greater playback performance • Up to 10x faster transcoding, depending on the format and content • Improved efficiencies and quality control within the content review process • Creative freedom using flexible R3D files instead of proxy files 8K performance is available with NVIDIA Quadro® RTX™ 6000 and 8000, GeForce® RTX™ 2080 Ti and TITAN RTX™ GPUs when coupled with a moderately configured PC. Creators can achieve additional performance improvements with multi-GPU configurations and may see noticeable gains even with older NVIDIA GPUs. Also, new NVIDIA RTX laptops from the world’s leading computer manufacturers, including Razer, Acer, Alienware, ASUS, Dell, Gigabyte, HP, Lenovo, MSI and Samsung, provide real-time playback at up to 8K and offer flexibility in choosing the right tools to fit a variety of budgets. Support from major NLEs and other SDK integrators is expected soon.

RED Digital Cinema® will present a Masterclass featuring Oscar®-winner Guillermo Navarro, ASC at the upcoming BSC Expo in London. Navarro will be discussing his approach to cinematography in the digital age during the seminar that will take place Saturday, February 2, at 16.00. BSC Expo 2019 runs Feb. 1-2 at the Battersea Evolution. Navarro won the Academy Award® for Best Cinematography on Pan’s Labyrinth. His impressive credits also include Desperado, From Dusk Till Dawn, Jackie Brown, Hellboy, Night at the Museum, and Pacific Rim, among many others. He has worked in Hollywood since 1993 and is a frequent collaborator with Guillermo del Toro and Robert Rodriguez. Born and raised in Mexico City, Navarro was a still photographer in his native country before segueing into shooting documentaries and commercials, and directing television. Most recently, he completed principal photography on The Voyage of Doctor Doolitle, slated for release in 2020, using the RED HELIUM 8K S35 sensor. Over at Stand 334, RED will showcase its latest sensor technology, including the MONSTRO® 8K VV and GEMINI® 5K S35. MONSTRO is an evolutionary step in large-format sensor technology with improvements in image quality including dynamic range and shadow detail. GEMINI leverages dual sensitivity modes to provide creators with greater flexibility using standard mode or low-light mode. RED will also demonstrate a real-time 8K workflow using a new REDCODE RAW SDK powered by the NVIDIA QUADRO RTX 6000 GPU. By offloading the compute-intensive decoding and debayering of REDCODE RAW footage onto a single NVIDIA GPU, real-time play back, edit and color-grade of RAW 8K footage is possible. Additionally, RED will display its newest accessories. The new RED® DSMC2 Touch 7.0” Ultra-Brite LCD Monitor is a robust, optically-bonded touchscreen with Gorilla® Glass that provides an intuitive way to navigate menus, adjust camera parameters, and review .R3D clips directly out of the camera. It offers a brighter, high-definition viewing experience for recording and viewing footage on DSMC2 camera systems, even in direct sunlight. The DSMC2 PRODUCTION MODULE mounts directly to the DSMC2 camera body and incorporates an industry standard V-Lock mount with integrated battery mount (DSMC2® Gold Mount will be available soon) and P-Tap for 12V accessories. The module delivers a comprehensive array of video, XLR audio, power, and communication connections, including support for 3-pin 24V accessories. It’s also available as a kit.

Hi Everyone. I am new to this website. My name is Tayyib Mahmood and I am a film student at Birmingham City University. I am writing a dissertation on a comparative analysis between LED and Tungsten Lighting and I need of a few interviewees. This can be done over video call (Skype). I am in need of anyone with industry experience who would like to give me their opinion on Tungsten and LED lighting and which would be dominant within the upcoming years. Thank you, Tayyib

Hi Im about to get a new camera today as a gift, but dont know what to get exactly yet. Can any give me advice and suggestions for digital cameras around $500 and what I should look for in a camera? Thank you

The American Society of Cinematographers (ASC) is now taking submissions for the television competition of its 33rd Annual ASC Awards for Outstanding Achievement in Cinematography. The event, which will also salute the organization’s 100th anniversary, takes place February 9, 2019, at the Ray Dolby Ballroom at Hollywood & Highland, and winners will be announced in all categories. Three categories comprise the TV awards: • Episode of a Television Series – Commercial (half hour and one hour) • Episode of a Television Series – Non-Commercial (half hour and one hour) • Motion Picture, Miniseries, or Pilot Made for TV The deadline to enter is November 5 by 5 p.m. (PT). To qualify, shows must have a premiere broadcast date in the United States between November 1, 2017, and October 31, 2018. Entry forms can be downloaded at here on the ASC website. In addition to the TV awards, the ASC gala in February will recognize the year’s best feature film cinematography, as well as lifetime honorees. For a complete timeline of the 33rd ASC Awards, visit this link.

Hi, I’ve recently uploaded my showreel and website. Would be interested to hear some creative feedback and thoughts. Thanks. Best, Hal halrobertson.com

Contenders for the American Society of Cinematographers (ASC) 2018 Student Heritage Awards have been unveiled today by the organization. Designed to inspire the next generation, the awards recognize graduate, undergraduate and documentary cinematography students for their exceptional work. The 13 nominees this year hail from 10 universities nationwide, and winners will be announced October 13. The ASC Student Heritage Awards also celebrate the memory of an exceptional cinematographer and are re-named each year in honor of esteemed ASC members. This year’s Undergraduate Award is named in honor of Gerald Hirschfeld, ASC and the Graduate Award honors Sol Negrin, ASC. The Documentary category is dedicated to Haskell Wexler, ASC. Finalists for this year’s student awards are: ASC Sol Negrin, ASC Student Heritage Award – Graduate Category: • Brody Anderson for Drawn Curtains, Chapman University – Dodge College • Steven Breckon for A Place to Stay, American Film Institute (AFI) • Andres Gallegos for Shoe Shiner, San Francisco State University • Yair Halper for Sauna, American Film Institute (AFI) • Heyjin Jun for Difficult People, University of Southern California (USC) School of Cinematic Arts ASC Gerald Hirschfield, ASC Student Heritage Award – Undergraduate Category: • Jack Craymer for Sonora, Chapman University – Dodge College • Matthew Hayward for The Latent Image, Columbia College Chicago • Grace Marrero for The Girl and the Bird, Florida State University (FSU) College of Motion Picture Arts • Simms Wright for Sodium Vapor Nights, University of North Carolina (UNC) School of the Arts ASC Haskell Wexler Student Documentary Award: • Alejandro Cortes Sanchez for Adrift, School of Visual Arts NYC • Rachel Lattin for Monumental, Chapman University – Dodge College • Minagi Tanaka for She Comes at Night, State University of New York at New Paltz • Xinzhong Zhao for Francis Ford Coppola’s Live Cinema, University of California Los Angeles (UCLA) Negrin was nominated for five Emmy Awards — three for his work on the detective drama Kojak, one for the telefilm The Last Tenant, and one for an episode of the series Baker’s Dozen. His cinematography in television commercials also earned four Clio Awards. Negrin received the ASC Presidents Award in 2010 in recognition of not only his expertise behind the camera, but for being an ambassador of the art and craft of cinematography. In 2007, Hirschfeld was honored with the ASC Presidents Award. His reputation for being a precise, exacting perfectionist led to his first major feature assignment, shooting the Cold War drama Fail-Safe for director Sidney Lumet. He would go on to shoot some 40 feature films, including The Incident, Goodbye Columbus, Cotton Comes to Harlem, Diary of a Mad Housewife, Young Frankenstein, Two Minute Warning, The World’s Greatest Lover, The Bell Jar, Neighbors, My Favorite Year and To Be or Not to Be. Wexler began his career shooting documentaries and remained a passionate documentarian throughout his career. He earned an Academy Award® in 1966 for Who’s Afraid of Virginia Woolf? and a second Oscar® in 1976 for Bound for Glory. He also received nominations for One Flew Over the Cuckoo’s Nest (shared with Bill Butler, ASC), Matewan and Blaze. In 1969, Wexler wrote, directed and shot Medium Cool, which is studied by film students worldwide for its cinéma vérité style. In 1992, he was honored with the ASC Lifetime Achievement Award. Many ASC Student Heritage Award winners have gone on to have successful careers in filmmaking, and several have been invited to be ASC members themselves. For additional information about the ASC, visit www.theasc.com, and follow them on Instagram (@the_asc), or join American Cinematographer on Facebook, Twitter (@AmericanCine), and Instagram (@american_cineamtographer).

Panavision, the entertainment industry’s leading designer, manufacturer and rental provider of high-precision optics and camera systems, has named Zoe Iltsopoulos Borys to lead the company’s Atlanta office as vice president and general manager. Borys will oversee day-to-day operations in the region, and ensure Panavision’s customers continue to receive the highest level of service to support their production needs. “Zoe is a respected partner to the cinematic community and we are pleased to have her on the team at Panavision,” said Michael George, Panavision’s chief operating officer. “Her understanding and familiarity with the needs of our customers will be an invaluable addition to our presence in the region. Filmmakers can be confident that they will continue to receive our superior service, along with our innovative Panavised camera systems and premier lenses.” Borys’ 25 years of experience in the motion picture industry includes business development for Production Resources Group (PRG), and general manager for Fletcher Camera and Lenses (now VER). This is her second turn at Panavision, having served in a marketing role at the company from 1998-2006. Throughout her career, she has been responsible for bringing innovative technology to the creative community, empowering them to bring their vision to the screen. She is also an associate member of the American Society of Cinematographers. Panavision’s Atlanta facilities, located in West Midtown and at Pinewood Studios, are the largest suppliers of camera rental equipment in the southern U.S., with a full staff of prep technicians and camera service experts. The Atlanta team has provided equipment and services to productions such as Avengers: Infinity War, Black Panther, Guardians of the Galaxy: Vol. 2, The Immortal Life of Henrietta Lacks, Baby Driver, and Pitch Perfect 3, among others.

A small selection of narrative films I've written, directed and filmed over the years.

Hello , I would like to know how to shoot stop motion as it in this video technically .

So I wrote a script for a short film. It is not the first one and it won't be the first project I have ever made. But this is my biggest project yet and will be requiring some financing in range of an extremely micro budget - around 2000 dollars. The short film will be about 25-30min long. The title is Helmina - it is a psychological drama film. I am a 17-year old student filmmaker with aprox. 5 years of experience in filmmaking. I have written, produced, directed, shot and edited several short films, some of them winning different awards at several student film festivals in my country. The most recent film I shot as a DOP was awarded at a international film festival. But none of the projects I have worked on had a budget exceeding a few hundred bucks. I have shot lots of indy video productions, covered events and got into photography several years ago. I also love writting and making music (including soundtracks). The script is pretty strong in my opinion and is based on a novel by a well-known Slovene author and phychologist that recently passed away. The film would be shot on aprox. 20 different location, none of them being problematic and probably wouldn't require any permits. Majority of my cast (33 actors and extras) and crew (20 people) consists of talented friends, ex-mentors, student actors/filmakers/musicians and some semi-professionals in the local film scene. Almost everyone supporting the project is an enthusiastic individualwho doesn't request any 'real' payments. Although, I still need to cover the expenses - transportation, props, clothing, make-up, food, gear rentals and some music licenses. As I wrote earlier, 2000 dollars should be enough to cover it all. The film in terms of tech is not such a big project to make. There is only a bit of compositing and CGI planned. I have several options regarding financing the project: 1. I could contact national television, which of course leads an AV-project funding campaign; 2. There are several local institutions that could possibly be interested in supporting my project; 3. Crowdfunding - I heard Indiegogo is good for those kind of things; 4. Sponsorship - I could contact some local companies; 5. Band coverage - I want to use a song in the edit by the most commercially successful rock band in my country. Normally, I would have to buy a music license, but what if I try to get the project supported by this band since the most important scene in the film will be using their famous song? 6. A high school leading a drama department in my city supports those kinds of projects, but since I go to a different school with a music curriculum, I don't know if their authorities would want to support me. I am still looking for main actress-protagonist, which may be schooling there so there is a chance of success with this method; I have prepared several documents regarding the film. That includes the rewritten screenplay in the professional form, storyboard, budgeting documents, location and props/gear notes etc. I wish to start the production by the end of the year and continue it through the next 6 months. I would be very happy and thankful if some of you shared some pieces of advice on how to continue the preproduction for this project I love and really, really want to finish. I need tips and advice on producing this kind of project in my current circumstances. I hope I shared enought information regarding my situation... Thank you :) Martin

Hey guys! Please check out The Ultimate Anamorphic Lens Test where we tested 13 brands, 40 lenses and created over 500 tests and 130 4K videos. You can compare them all in our 4x side-by-side viewer here. Brands tested include: Angenieux Optimo 44-440mm T4.5 AS-2 Anamorphic Zoom ARRI / Zeiss Master Anamorphic Atlas Lens Co. Orion Series Anamorphic 65mm T2.0 Cineovision Anamorphic Cooke Anamorphic /i Special Flare Elite Anamorphic Hawk V-Lite Vintage `74 Anamorphic Iscorama Pre-36 Anamorphic Lens Adapter Kowa Cine Prominar Anamorphic Lomo Round-Front Anamorphic Panavision Auto-Panatar Anamorphic P+S Technik 35-70mm T3.2 Cinemascope Zoom Todd AO High-Speed Anamorphic Hope you enjoy it. Please let me know if any questions!