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This is a short film I made in Oslo. Feel free to critique, comment and maybe share :) Thanks! Martin

Hello Everyone, After much thought I have decided to put my complete Sony F35 + Codex package up for sale. This is the only Sony F35 kit you will find to have a complete Codex Onboard Recorder package. This includes the Codex Onboard Recorder, 1 512GB + 3 256GB Data Packs, F35 Wet Dock, Control Panel, all necessary cable, the incredibly rare and expensive Desktop Transfer Station (DTS) and an ATTO ExpressSAS H3680 card inside a Sonnet Echo Express Sel case which plugs into any MAC with a Thunderbolt port. The Codex Recorder and DTS both have all available licenses activated: 12bit 444 uncompressed DPX, compressed JPG, ARRI RAW, CANON RAW. The DTS can automatically convert to ProRes422, ProRes444 or other formats on the fly for immediate editing of your footage. Also this is the only recorder that will record everything the Sony F35 can output: uncompressed 12bit 444 up to 30fps and uncompressed 10bit 444 up to 50fps - something that even the Odyssey 7Q cannot do because you need 4 SDI connectors for this last output. In addition to all this, Start/Stop recording can be activated via the record button on the F35. This Sony F35 is a complete OTTO NEMENZ kit with, in addition to other things, 2 custom machined cheeseplates, a machined top cheeseplate with integrated single 15mm rod mount and their spectacular viewfinder mount, which I updated with custom made 3D printed parts. If desired this can be easily changed to the original Otto Nemenz viewfinder setup. I have a great many accessories for sale to make a complete "ready-to-shoot" system. These include: Red One 18-50mm f2.8 lens in great shape, a Carl Zeiss Biometar Jena 120mm f2.8 PL mount lens, a Carl Zeiss Biometar Jena 80mm f2.8 PL mount lens, a Helios 44-2 58mm F2 PL mount lens, Vocas Wooden Handgrip with 150mm offset extender, an Ikan D5 monitor, Zoom H6 recoder with Gator waterproof case and Monster Digital 32GB SD card + Zoom SSH-6 Stereo Shotgun Mic, a 2 stage Chrosziel matte box with french flag, SHAPE 8000 quick-release V-Lock shoulder mount/baseplate, Sony VCT-14 quick-release tripod adapter, O'Connor 50D fluid tripod head, Lensse S5 Dual Follow Focus with speed crank, Lanparte V-mount batteries with charger, Tiffen 4x5.65 full spectrum IRND 1.2 filter, and other items for a truly complete setup. Since I have so many Sony F35 related items for sale I have created a price list with descriptions in PDF format that can downloaded from the link provided below. I believe I am offering these kits at very competitive prices. Everything is fully functional and in exceptional condition. As I said it took me 2 years of trial and error, testing various components, and finally finding the best parts for what I consider the Ultimate Sony F35 Set-Up. I have selected each component carefully and have taken exceptional care of them all. Photos and links to photos of many of my components can be found here below. Here is the link to the price list: http://www.igorbertolucci.com/SONYF35SALE/SONY_F35_Kit_Price_List.pdf As an incentive, with the purchase of multiple kits, or better yet the entire list of equipment, I am able to offer an even better price than the already very competitive prices you see in the price list. If you are interested in purchasing multiple kits please contact me. Shipping will vary depending on the kit(s) purchased and the destination. For the "Sony F35 with Codex Onboard Recorder Kit" WITH the Otto Nemenz hard cases you are looking at around $400 shipping in the US and $800 overseas. Without the cases this price drops substantially as they cases themselves are very heavy. I regularly pack and ship hand-crafted ceramic items all over the world and can pack all the equipment securely and safely in boxes without the hard cases, which will reduce the shipping cost to about half: ~$250 CONUS, ~$500 overseas. Shipping will be from San Francisco. Following are links to additional photos as we are limited to only one photo attachment per sale thread: http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_01.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_02.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_03.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_04.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_05.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_06.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_07.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_08.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_09.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_10.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_11.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_12.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_13.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_14.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_16.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_17.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_18.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_19.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_20.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_21.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_22.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_23.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_24.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_25.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex001.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex003.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex004.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex005.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex006.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex007.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex008.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex009.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex010.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex011.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex012.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex013.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex014.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex015.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex016.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex017.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex019.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex020.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex022.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex025.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex026.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex027.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex028.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex029.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex030.jpg Here is a link to a forum where you can find additional photos of the F35 in the Kata backpack (at the end of the page): http://www.dvxuser.com/V6/showthread.php?332103-Sony-F35-Codex-M-Recorder-Complete-Setup/page5&highlight=codex Here is a link to a thread where you can find photos of the additional CCD Block and Sony F23 to F35 Conversion kit hardware: http://www.dvxuser.com/V6/showthread.php?337896-Sony-F23-F35-Conversion-Kit-***-F35-Optical-Block-CCD-plus-hardware Should anyone have any questions please PM me or write to me directly at samana76@yahoo.com Cheers, Igor

This is a short film I shot earlier this year - Buden (Awake; directed by Simon Moe and Lara Lovrič). I also worked as a 1st AD, editor, producer, sound designer and colorist. The language is Slovene but it has HQ English subtitles. We are enthusiast student filmmakers with aprox. 4 years filmmaking experience. International festival Zoom 11 chose this film as one of the "Top 10" film (503 were submitted).I would be very happy to get some honest feedback, specifically on my cinematography. Majority of the film was shot on Canon EOS cams, the slow-mo sequence was shot on Sony A7s and some internal shots on Nikon D3300. https://www.youtube.com/watch?v=Tg5angkY8Ig&t=72s Thank you and best regards, Martin

Long story but I just heard about this song tonight. When looking for the song, I stumbled across the video. I am rather impressed with how Guy Ritchie shot this. I also see it caused quite an uproar in its heyday. My question: Does any of you cats know the cinematographer? Anyone here work on this? I know it was shot in parts of LA.

Hey everyone, please take a look at the showreel on my website and let me know what you think! www.oliwilliamsdop.com Many thanks, Oliver Williams

Hey guys, If you’re reading this ad, you might be familiar with the F35’s recent resurgence thanks to the wonders of modern external recorders. The sensor is just gorgeous, a 5k CCD with a global shutter (so you never need to worry about rolling shutter skew again), beautiful colour science, and highlight handling that’s still only topped by the Arri Alexa. I generally rate the camera at 400 ISO, but am happy with it up to 800 ISO (which is basically equivalent to the Red Dragon with the Skintone/Highlight OLPF). I recently returned from shooting a Bollywood feature with it over in India, starring Eric Roberts. And I’ve shot a documentary, four short films and a couple of commercials with it as well, and it’s been absolutely rock solid for me. I’d shot with the F35 in its original incarnation, and felt there were a couple of key areas I wanted to address when I assembled my own kit - and that was largely to do with the monitoring. The original Sony C30 EVF that came with the camera was only standard definition, and it made being certain of critical focus with the camera pretty difficult, it also only gave you zebras for exposure monitoring, which again, was pretty limiting. So my solution was to pair the camera with the new Zacuto Gratical Eye, and the Odyssey7Q+. This gave me HD monitoring with both the EVF and the monitor/recorder, with full, customisable LUT support across both (something most of the current top cameras out there still won’t do), and waveforms, (accurate) peaking, and false colour (to name just a few of the features). I’ve installed matching LUTs on both the Gratical and the Odyssey, and calibrated both to match (so you’ll see a matching image regardless of which you’re looking at). The reason I consider this the ‘Ultimate’ F35 kit, is because I’ve designed every part of the kit with the Operator (namely myself) in mind, and as a result it’s really easy to work with. The build is extremely streamlined, with a 15mm rod system allowing for rigid and precise placement of both the EVF and the monitor. The Zacuto Axis Mini slots straight into the Wooden Camera Top Handle, and allows for perfect placement of the EVF for handheld work as well as being on the dolly or sticks. And because the Top Handle is mounted to Nato Rail, both the handle and EVF can be slid off the camera in mere seconds for packing down into a compact carry case, or squeezing into tight spaces. Every component just works really well together. To simplify things further I also had Panavision build a custom v-mount plate for the camera, to provide two addition DTAP ports to run the Gratical Eye and the Odyssey - which means there’s no stuffing around with DTAP splitters or additional battery/power-distro gack. Using the Odyssey7Q+ allows you to get the most out of the sensor possible, using dual-link recording from the camera’s Interface Box, you get an uncompressed 12-bit 4:4:4 1080p feed (downsampled from the 5k sensor), that you can record in uncompressed 12-bit .DPX files (for insane image quality), or 12-bit ProRes4444 or ProRes4444XQ (for simple, very high quality drag-and-drop files). Or for shoots that don’t require crazy image quality you can also record in simple ProRes422 or 422HQ. You can also record at up to 50fps for beautiful 2x slow-motion. And with two 512GB Samsung 850 Pro SSDs, you’ve got enough recording space to comfortably shoot for a full day. The camera only has 1230 hours on it, so it’s about as pristine an example as you’re going to find. Additional kit includes a Portabrace Rain Cover/Sunshade for the Odyssey7Q (which is great for viewing the monitor outdoors), and an Element Technica Hybrid Studio Baseplate and Dovetail, along with 19mm stainless steel rods - so you can put the camera straight on your tripod, add a battery, add a lens and start shooting immediately. There’s nothing left to add with this kit, as I’ve already put in the hard yards to design and piece it together. and the nice part about the kit, is that because all of the accessories are non-proprietary, they'll translate over seamlessly to your next camera too. The full kit list is as follows: - Sony F35 - Sony F35 Interface Box - Sony F35 L-Handle - Sony F35 Assistant Panel - Odyssey7Q+ - 2x 512GB Samsung 850 Pro SSDs - Portabrace Rain Cover/Sunshade for Odyssey7Q - Zacuto Gratical Eye - Zacuto Axis Mini EVF Mount - Wooden Camera NATO Handle (Plus) - Berkey System 15mm Rods and Spuds for Odyssey7Q - Element Technica Hybrid Studio Bridgeplate (19mm Rods) - Element Technica Standard Arri Dovetail - Stainless Steel 19mm Rods - Custom V-mount Battery plate with 2x DTAP - Convergent Design DTAP to Odyssey7Q cable - Zacuto Braided LEMO/SDI cable for Zacuto Gratical Eye - 2x Canare 3G-SDI Cables for dual-link recording - Custom Flight Case The camera is located in Melbourne, Australia, but I’m happy to ship worldwide. Price is $9,500 USD + shipping (I’ll need to add 10% GST if it’s purchased in Australia)

Hey guys check out some of my favorite shots from this summer! https://www.youtube.com/watch?v=a3nMNsaYGAE Hope you enjoy! Taylor

A short montage video I did from the famous "artists district" in Paris, it includes Woody Allen music and reflects the bohemian feeling of this painters-filled part of town. https://youtu.be/Ca5jI4ESJQA

Hi guys! Let me introduce myself, I am an international student in Arizona and currently I am in college majoring in Media Communications. When I transfer to a university I was thinking about getting a bachelor's degree in General Business or Management (still have to decide which one's better for me), also I thought about getting a minor in Digital Film making, and a minor in English focused in Creative Writing or Rhetoric and Professional Communication (still have to decide which one's better for me). I thought about this because the film making industry isn't all about just knowing how to create a movie, but also how to manage the business of the film industry. That's why I thought it would be better to have a BA in Business. Also, I thought of the minor in English because a lot of filmmakers need to know how to write well, have a critical thinking, and be creative. My main questions here are: Is this plan a good idea? Or do you guys think I should get a BA in Digital Film making and get the minors in Business and English? Hope you can help me and thank you very much for reading! :)

WRITER/PRODUCER/VISUAL DESIGNER SEEKING DIRECTOR OF PHOTOGRAPHY WITH HER/HIS OWN EQUIPMENT WHO CAN EDIT AND PRODUCE — TO PARTNER ON PRODUCTIONS Hello everyone! Thank you, in advance, for taking the time to read my post. If it interests you I look forward to hearing from you... if it doesn't then I simply wish you amazing success on all your projects. I cheer for everyone to get their TV and film projects made! Okay...I'm a writer and producer, and a visual designer. I have multiple completed feature scripts and many more ideas/treatments. I have an open invitation for a pitch meeting with an Emmy winning TV producer who has produced hit after hit. I have received extremely positive feedback and praise on my feature scripts from other producers, known/recognizable TV actors, as well as Emmy nominated writers. Here is an excerpt from my recent thriller script feedback from one Emmy nominated writer who is also a director and a Sundance Grand Jury Prize nominee: " It’s a really well done story and has a lot of box office potential ... It is often thrilling, suspenseful, and downright creepy — all ingredients you need in this genre. You have built a world that feels authentic and isolated, which helps enormously. I think audiences who love to be scared will eat this up. " I quoted them only to assure you that I can write well, as I know you don't want to waste your time anymore than I do. In addition to good feedback I was recently recommended to a lit agent by a couple of producers to be the screenwriter for the adaptation of an autobiographical book about a highly publicized national story. There are many projects I want to develop and shoot, but I need the right partner with whom I can grow with, someone with talent, a similar mindset, and equipment who can shoot and edit, and produce as well. I'm seeking someone who is extremely serious and 0% flaky. I have low budget, low-mid budget, and no-budget feature film projects we can discuss, reality TV projects, even YouTube possibilities. A few are pretty ready to go, some need more development, and many are just loglines or ideas we can build out. I co-produced a feature film (2010) that won a few festivals and had a small theatrical release before going on to its TV release. I have many years in the industry/LA and know some indie directors, distributors, DPs, producers, Emmy nominated writers and EPs, hair & makeup keys, production designers, other great crew, etc. I have good instincts, can think creatively in the moment, have ideas on how to structure funding to shoot, and am excellent at casting as I know what good acting looks and sounds like because I was conservatory trained and acted professionally in the past. In addition I have a B.A. in graphic design and have years of professional experience in NYC, DC, and LA designing posters, one-sheets, brochures, logos, etc. so we'll never have a one-sheet that looks like someone's dog made it in Microsoft Word. I am seeking someone who wants to commit to a real partnership of collaboration and focus on making product that will be captivating and commercially successful, and have a lot of fun as we go. If this sounds like the partnership you are looking for and you are a talented Director of Photography with your own equipment who can edit and produce, please send me an email with a little bit about yourself as well and a link to some of your work. Thanks for reading and for your consideration. I'm looking forward to getting projects DONE! :) EMAIL ME AT THE FOLLOWING EMAIL ADDRESS: partner2produce@gmail.com

I'm just wondering if anybody could break down this scene in terms of lighting for me. Im shooting a short film for somebody next week and would love to achieve this sort of lighting set up. what i'm looking for is Light ratio Temperature softlight/hardlight Colour Gels Filters Lights that are believed to be used colour scheme Practical lights lighting position If anybody could help me out it would be greatly appreciated Thanks

Hello all filmmakers in the South Puget Sound area. I wanted to let you know about the Olympia Film Collective. We are a group of independent filmmakers that meet once a month (on the second Sunday) to help each other out with our various projects. The website is olyfilm.com and we love to meet hard working, creative people that want to make excellent independent cinema!

Hey guys, I'm a DP in LA but I also founded a company called ShareGrid, where filmmakers can rent gear to each other with integrated insurance. For our blog, I host interviews with filmmakers from our community about their experiences and we just recently released our newest series with DP, Jas Shelton (Keanu, Togetherness, The Stanford Prison Experiment). VIDEOS I would love for you guys to check it out. There's some valuable insight as Jas talks about how he became a DP out of film school, shooting with the Duplass Brothers, managing a crew, having a positive attitude on set and his visual strategy on his newest feature, Keanu (Key and Peele). I hope everyone enjoys the series and finds it helpful!

Hey guys, I'm a DP in LA but I also founded a company called ShareGrid, where filmmakers can rent gear to each other with integrated insurance. For our blog, I host interviews with filmmakers from our community about their experiences and we just recently released our newest series with DP, Jas Shelton (Keanu, Togetherness, The Stanford Prison Experiment). VIDEOS https://www.youtube.com/playlist?list=PLaCcqdDN6m8F1evAkIl54Bz-ZTsw-7Fqc I would love for you guys to check it out. There's some valuable insight as Jas talks about how he became a DP out of film school, shooting with the Duplass Brothers, managing a crew, having a positive attitude on set and his visual strategy on his newest feature, Keanu (Key and Peele). I hope everyone enjoys the series and finds it helpful!

Sean Porter says some really interesting things about 'beating up' the digital image, to sort of pull out that natural grain, and to give it some character. What do you think? Interview here. http://www.cinelinx.com/interviews/item/9323-sean-porter-d-p-of-green-room-on-adapting-for-the-narrative.html

Hello all, I'm an aspiring film director/producer, entering UTA next year as a freshman. I constantly hear that you need to be in LA for the film business, or that everyone ends up in LA, and I wanted to know a little more about this. My question is, why? Why do you need to be in LA? I lived there when I was younger, and all that I remember was that the cheapest dirthole was still more expensive than my modest house in Austin. Also, I've had friends tell me how strict LA is on permits, whereas in Austin, I was shooting on the street w/o any permits and a police cab came up and offered to buy us lunch. So...why LA? I ask this question because Austin's film program is offering students internships at select studios in LA (such as Paramount and Lionsgate) as well as in NYC (but I believe that's more for TV). However, is this something worth looking into? To be honest, and I don't know everything about the industry so this is all coming from interviews/workshops, but the films I want to make I could make probably shoot here in Texas. I would be honored to hear what you guys think and what your experience is with this. P.S.: Money is a HUGE factor for me. Edit: added some line spacing.

Hello, all! We are preparing to shoot a film out in West Texas (in the middle of the desert) soon. Our concerns are primarily with the heat (temperatures are expected to be a high of 101F) and bathrooms (as we will be far away from any nearby restroom). Additionally, we will be filming with RED cameras, and have a cast/crew of roughly 15-20 people. We have it in our plan to bring tents, massive fans, and water in bulk for breaks. And, we anticipate taking a 3-4 hour break during midday (when temperatures peak). However, we will have a lead actor in a fully black, long-sleeved/long-legged costume, plus another actor in a full body armor suit (a prop robot suit). Would any one care to share some advice, given past experiences with filming in similar situations? Thanks! John

" P I G S " Filmed in 35mm Eastman Color by Glenn Roland Director of Photography/Cinematographer New 2k DCP Restoration was Screened at Cinefamily Silent Movie Theatre on March 12, 2016. Out on Blu-Ray from Vinegar Syndrome - March 29, 2016 Director of Photography Glenn Roland is available worldwide for hire to film Motion Pictures, Television and Television Commercials. For Booking Call: (310) 475-0937 ENJOY THE HORROR! :o

Hello all, For a class project we were assigned to make a music video. This is what I made, a fan production of the song "Baby Came Home 2" by The Neighbourhood. I would appreciate any and all feedback! https://www.youtube.com/watch?v=gNdpX2hPpyQ

Just wanted to share a short film I was the Cinematographer on. The whole project was completed from start to finish in one month and a half, given our time frame I'm happy with the short film. I've been privilege to meet some great people, the whole thing was based here in Seattle. Camera: BMCC 2.5k RAW Lens: Rokinon 17mm 2T and the Sigma 18-35mm Art 1.8 Edited: Final Cut X Colored: DaVinci Resolve 12 Although it's in another language and sometimes hard to understand; it was a crazy fast experience, I'm very glad to have worked on it. I've worked on lot's of Bollywood Productions in LA and Las Vegas back in the day as a PA. Particularly "My name is Khan" It's funny after all those years I'm now involved in an indie Bollywood Production. I hope you enjoy it... Please, I'd love to get some feed back on the Cinematography of the short. I wan't to improve and get better. I'd like to know any constructive feed back on things. The last night scenes of the movie were shot on available light, no bounce or anything... It was also our first days of the shoot and we were still not up to speed on things. I think some of those suffered the most. **there are some shots one or two that were shot on the BMPCC with a very bad soft lens and they unfortunately made it in the film, also some weird artifacts from shooting in the night in really low light at the very end of the movie.** smile emoticon

Hello all, I am in my final year of studying film production and I am currently doing research about cinematography and color grading. I am trying to find out more about the collaboration/ workflow between the DP and the Colorist and the issues regarding the authority over the look. I am also looking into whether new, aspiring cinematographers should be their own colorists. I was wondering if you could please share your opinions about this from your experiences so far. As a Cinematographer, how were your collaborations with Colorists ? (and vice-versa). What can DPs/Colorists do to ensure they can work together successfully? If you are working both as a Cinematographer and a Colorist, why did you choose to have both roles and how difficult was the transition from cinematography to color grading? Your help would be much appreciated!

Hey Guys, I'm an aspiring cinematographer and I am wondering how best to spend my money to invest in this field. At first, I was dead sent on buying on new camera (looking at the A7s II or the Ursa Mini); however, I have now begun to consider investing in lighting equipment, and opting to rent a camera whenever the need arises. Basically I'm torn: For $3,000 I could buy just a camera body, or I could get an Arri lighting package (x2 150w, 300w, 650w, 1k) and two 4' 2-bank kino lights w/ ballasts off of Ebay. My questions are: Can anyone provide insight into what would be the best and most beneficial course of action? I also have another question based off of the Kino lights: is the output of a 4' 2-bank Kino the same as the output of a 2' 4-bank Kino? What are the benefits to either or? Lastly, is there a better investment I could make that isn't a camera or lighting equipment? Thanks again, and any insight will be greatly appreciated! -Sam

Hello all, I am doing cinematography for a friend's film, and I was contacted by a local camera operator who was interested in working on our set. Coming from sets with a minimal crew, I'm used to operating a camera by myself when doing cinematography, so this is going to be a first time thing for me. As I'm new to this process, I wonder -- how does the relationship between a DP and a camera op go? I understand DP's will sometimes take the camera to get the shot they want, and therefore trade off with the camera op on-set, but my question is directed more towards pre-production meetings and such. For instance, are there any meetings that are meant to take place between a DP and his operator prior to arriving on-set? And if so, what exactly gets talked over? As a side note, I have yet to meet this local camera op in person. Thanks, John

Hello all, I just recently posted a DP reel that combines a bunch of my 2nd Unit work. I'm waiting for a few new movies to come out before I can add to it, but this is what I have for now. Would love to hear what you guys think. Happy shooting, everyone! Neil Moore Cinematography Reel - TRT 2:00 --Neil Moore Director of Photography - www.ShootingFilm.com - IMDB

Hi! I'm meeting an agent tomorrow and I wonder if this forum has some suggestion when I meet him, what should I make clear from the beginning? Thanks!