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Showing results for tags 'sonycinematography', 'filmmaking', 'cinematographer', 'cinealta', 'directorofphotography', 'musicvideos', 'sonyeurope', 'filmmaker' or 'digitalcinema'.
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Cinematographer - Oleg Zayanov (Los Angeles, California) Born in Russia, Moscow WEB - vimeo.com/olegzayanov Canon 5Dmarkii + 24-105L -
Hey everyone. I figured you all would appreciate this. My dad - a true lover of the NASA space program - sent me this link to one of four videos of the space shuttle lifting off at 400fps. I am posting it here because the narrators talk extensively about the film-making processes that were used to achieve this. Really astounding images on 16mm. Enjoy!
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Hello all, As a little kid, I used to always shoot and develop my own movies on Super-8mm cameras. In the past few years, however, I've moved toward the digital age using Panasonics and DSLRs. I want to go back to using film, however I want to get higher quality than Super 8 - is 16mm a good choice for a young filmmaker? And if so, what cameras are best? My price range is anywhere below $1000 (or a little above). Thanks!
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"Donnie Darko" cinematographer and ICG Local 600 President Steven Poster, ASC, will present a master class in cinematography at IFP's Made in New York Media Center in DUMBO on Saturday, November 15, 10 am to 3 pm. The film "Donnie Darko" will be screened in the morning and after lunch, Steven will present an overview of his collaboration with director Richard Kelly. Steven will also share his secrets about how to persevere and flourish in the film business. When: Saturday, November 15 10 am to 3 pm Where: IFP's Made in New York Media Center (DUMBO) 30 John Street Brooklyn, NY 11201 RSVP here. http://nymediacenter.com/events/event/?id=242651E3-8495-4F0B-A94FEC84FA3E2750&slugid=masterclass-with-steven-poster-asc-donnie-darko -
"Donnie Darko" cinematographer and ICG Local 600 President Steven Poster, ASC, will present a master class in cinematography at IFP's Made in New York Media Center in DUMBO on Saturday, November 15, 10 am to 3 pm. The film "Donnie Darko" will be screened in the morning and after lunch, Steven will present an overview of his collaboration with director Richard Kelly. Steven will also share his secrets about how to persevere and flourish in the film business. When: Saturday, November 15 10 am to 3 pm Where: IFP's Made in New York Media Center (DUMBO) 30 John Street Brooklyn, NY 11201 RSVP here. http://nymediacenter.com/events/event/?id=242651E3-8495-4F0B-A94FEC84FA3E2750&slugid=masterclass-with-steven-poster-asc-donnie-darko
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Hey, I'm Lea. I'm a young filmmaker trying to get my foot in the door. I would love to hear any anecdotes or advice you have on the subject. Here's my reel. Feedback is welcomed and appreciated! Check out my site! Hope you enjoyed it! All the best, L. Fox
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I hope it's okay to post about this here. I saw a few questions about filmmaking workshops. Website: http://www.shooteditlearn.com 2014 Speakers: Bonnie Curtis (Saving Private Ryan, Minority Report, A.I. Artificial Intelligence) Shane Hurlbut, ASC (Need for Speed, Terminator Salvation, We Are Marshall) Alex Buono (DP SNL Film Unit, Green Street Hooligans) Andy Baker ( SVP/Group Creative Director Nat Geo Channels) Ryan Connolly (Film Riot) Salomon Ligthelm Joe Simon Khalid Mohtaseb Joe Sciacca Joel Edwards (From shooteditlearn.com) Why Should You Choose Masters in Motion? We may be a little biased but we believe that Masters in Motion is the best filmmaking workshop around. What do we think sets us apart? Quality of Education In any creative field, many things are subjective. That is why we always gather a diverse group of speakers who are all successful working professionals from various backgrounds. We have everyone from wedding filmmakers, to smaller boutique production houses to people working on Hollywood feature films and everything in between. For Filmmakers, By Filmmakers This workshop was founded by and is run by two filmmakers. We know firsthand what it’s like to struggle to make ends meet as a freelancer. We know how intimidating it can be to try to transition into the commercial world. We get it. We’ve not only been there, we never left. We have made a lifelong dedication to our own education and hope to continue to share that with everyone we can. We Understand That People Learn Differently Some people learn best in a lecture based environment, while others do better in a more intimate hands-on setting. We don’t think you should have to choose one or the other, which is why we have combined the best of both worlds. We have both lecture based presentations and a full day of break-out sessions. We Care We pour our heart and soul into this event every year. Our goals are the same as the day we started. We will continue to do everything in our power to keep growing this community, to offer the best educational resource possible, and to create the best environment possible to foster personal and professional growth. We Listen We not only listen to feedback but we recognize it as an invaluable source of information to make sure we are always improving. We not only listen to feedback from attendees, presenters, and our staff but we act on it. -
Hi everyone, I'm looking for a bit of advice regarding agents/diary services. I'm a London based cinematographer, wondered if anyone had any experience with this in the UK? I've previously been finding my own work and wondered if having a diary service/agent has helped you get more work at all? Is it worth the money? Or just a waste of time? Thanks! Davey
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Selling two of my cameras 1. Sony PMW-F3 Great condition Only body 2. Canon EOS 1D mark IV EVO PL-mount Custom rebuild by German co More info and pics, email Location: Sweden
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Alright, where to start... I'm a young aspiring filmmaker whose had a passion for making films ever since I was 6. Self-taught, I've made films all on the digital format, and recently, I've been shooting short films on the Canon Rebel T2i. I'm all for manual control, and I'm a pretty big hater of auto focus. Being that most of the filmmakers that inspire me shoot on film, and that it's (sadly enough) slowly dying, I've decided I want to move from digital to film. Now I understand that a great place to begin is with film photography. I've signed up for a photography class (showing you how to shoot and develop film) for my Junior year, and I've also been reading through the web and these forums to understand the film process. My first set of questions are: What still film camera should I begin with? What type of film should I use? Anyway to make a cheap DIY dark room setup? After some practice with that, I wish to begin filming short films (after some more tests of course) on a motion picture film camera. I have in mind using a Super 16mm camera, however that may not be the right choice depending on your responses. So here is my big set of questions for you guys: Which Super 16mm (if I should even use a Super 16mm) should I shoot with? Which film stock should I shoot on? What are the differences between types of film stock? I understand that there's the 'Ultra' modification to convert 4:3 to 16:9, is there any other way to do this (2x anamorphic lenses)? Or could the gate be easily modified on my own? Should I use light meters? If so, which ones do you recommend? What's the best and affordable way of a HD DIY telecine? I understand you can send in your film to get it processed and telecined, but which one is the most reliable and affordable? How to properly light an indoor scene? How to shoot at night (EXT and INT)? Recommended books or websites? __________________________________________________________________________________ As for my tastes and interests (as it could help you answer my questions more specifically): I love Hitchcock, Welles, Nolan, and Kubrick. Film noir has always intrigued me, and I love the look of it. I guess you can say I love low-light photography and cinematography. A modern DP that I dearly love is Wally Pfister, and I understand he shoots on film. If I asked him these questions, what would he say? I also understand Chris Nolan shot Following with an Arriflex BL 16mm (don't know which model). I love the community here, and I hope you guys can understand my switch to film as I think its the true magic of cinema. Thanks ahead of time for checking this post out and taking the time to respond to newbies like myself. I hope to deliver my style and form of storytelling with film. Thanks so much guys! *do note that I own a Bell and Howell MS 30 Super 8mm (no stock)*
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I am looking for a cinematographer. I am filming a pilot episode for my short drama next week Monday and Tuesday in Watford (UK) and next week Friday in Middlesex Hendon (UK). Then the following week beginning the 21st we plan on filming episode 2. We have a few independent production companies interested in this drama. Would you be available? Do you have your own equipment? For more information email me at jevan_buckley@hotmail.co.uk Thank you Jevan -
ROCHESTER, NY (March 24, 2014) - The KODAK Scholarship Program is now accepting submissions for the 2014 competition. This international program acknowledges student filmmakers who demonstrate exemplary filmmaking skills and creativity at the undergraduate and graduate levels. The deadline for entries is May 16. John Bailey, ASC, a distinguished cinematographer known for his artistic contributions to cinema, will spearhead the panel of judges, who will assess entries based on sample reels, faculty recommendations, and academic achievements. This is Bailey's third consecutive year as a judge. His long list of credits include American Gigolo, Ordinary People, The Big Chill, The Accidental Tourist, Groundhog Day, As Good as it Gets, Incident at Loch Ness, Big Miracle and The Way Way Back, among many others. He also writes a blog for the American Society of Cinematographers - John's Bailiwick - on a range of topics that affect the art and craft of filmmaking. This year, Kodak introduces a new, online submission process to make entering easier. In addition to an online entry form, film schools can now use a public VIMEO or YOUTUBE URL to upload a sample of the student's work that best exemplifies their filmmaking skills. Accredited film schools around the world may nominate up to two students for consideration for the KODAK Student Scholarship, and one cinematography student for the KODAK Student Cinematography Scholarship. The cinematography student nominee may also be nominated for the KODAK Student Scholarship Award. Kodak, in collaboration with the University Film & Video Foundation (UFVF), holds this annual contest to encourage students pursuing a career in filmmaking. The following prizes will be awarded to the finalists and announced in August: KODAK Student Scholarship: Gold: $5,000 tuition scholarship and $5,000 KODAK Motion Picture Film grant Silver: $4,000 tuition scholarship and $4,000 KODAK Motion Picture Film grant Bronze: $3,000 tuition scholarship and $3,000 KODAK Motion Picture Film grant KODAK Student Cinematography Scholarship Award: First Place: $4,000 tuition scholarship and $5,000 KODAK Motion Picture Film grant Honorable Mention: $1,000 tuition scholarship and $3,000 KODAK Motion Picture Film grant Since 1991, Kodak has been supporting future filmmakers and encouraging excellence in the field of motion picture education. The company's ongoing efforts include a range of opportunities that students and educators can use to enrich their knowledge of the art and craft of filmmaking, including educational materials and discounts, in addition to sponsorship of film festivals, awards, seminars and student showcases that raise awareness about emerging talent. For more information, visit www.kodak.com/go/education. # About Kodak Kodak is a technology company focused on imaging for business. Kodak serves customers with disruptive technologies and breakthrough solutions for the product goods packaging, graphic communications and functional printing industries. The company also offers leading products and services in Entertainment Imaging and Commercial Films. For additional information on Kodak, visit us at kodak.com, follow us on Twitter @Kodak, or like us on Facebook at KodakNow. About Kodak's Entertainment Imaging Business Kodak's Entertainment Imaging business is the world leader in providing motion picture film and imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion. Follow us on Facebook (facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm), and YouTube (youtube.com/KodakShootFilm). (Kodak is a trademark.) 2014 Media Contacts: Lisa Muldowney, ignite, +1 760-212-4130, lisa@ignite.bz Sally Christgau, ignite, +1 415-238-2254, sally@ignite.bz -
My name is Jamila J. Brown and I'm a screenwriter looking for a cinematographer to bring my short film to life. The film is called "Gofish" and it's about an intercultural friendship between a black and Jewish girl take place in Crown heights, Brooklyn shortly after the riot of 1991. If you're interested in being apart of this project please email me your resume and short clip(if you have) of your work at jamilajjb@gmail.com
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Hello I've been making Super-8 and 16mm and 35mm short films most of my life as a filmmaker and DP, and for the past few years I've started moving towards digital filmmaking. At first I was using MiniDV but the quality was very cheap, so my equipment now is a Canon EOS Rebel T1i that I equip with old 1.4 lenses, and a Sony NEX 3 that I also equip with a bunch of old lenses some of which are handmade/modified lenses. My question is this : Which one is the camera that I should use the most for my films? The EOS has a 20 fps frame rate but a very large image (1920x1080) so maybe that's bad? I only have like three lenses that can go on it and the lenses I design cannot go on a camera with a mirror. Is it that bad to shoot 20 fps? I used to shoot 18 fps with super-8mm. Handheld, the images are too shaky. The NEX has a better frame rate of 30 fps but the image is 1280 x 720, although I have way more lenses for it and most of the homemade lenses I build can go on it because it is mirror less. I've had issues with the compression, though, that make it annoying to use this camera. When handheld, the images aren't too shaky though. I think maybe I should get a NEX-VG10? At the end of the day, I'd love to have a camera that's not too bulky and can shoot very good images, not too compressed, with an e-mount. Getting good sound isn't a priority. I also think it might be possible to get an external SSD recorder to plug in the HDMI of the Sony NEX, thus I would have an uncompressed image from the NEX? At the end of the day, I've used more than 80 different cameras to make my films, and I feel like the search can be endless, although I know the content is what matters more than the tool. But please let me know what you think. -
Hello I've been making Super-8 and 16mm and 35mm short films most of my life as a filmmaker and DP, and for the past few years I've started moving towards digital filmmaking. At first I was using MiniDV but the quality was very cheap, so my equipment now is a Canon EOS Rebel T1i that I equip with old 1.4 lenses, and a Sony NEX 3 that I also equip with a bunch of old lenses some of which are handmade/modified lenses. My question is this : Which one is the camera that I should use the most for my films? The EOS has a 20 fps frame rate but a very large image (1920x1080) so maybe that's bad? I only have like three lenses that can go on it and the lenses I design cannot go on a camera with a mirror. Is it that bad to shoot 20 fps? I used to shoot 18 fps with super-8mm. Handheld, the images are too shaky. The NEX has a better frame rate of 30 fps but the image is 1280 x 720, although I have way more lenses for it and most of the homemade lenses I build can go on it because it is mirror less. I've had issues with the compression, though, that make it annoying to use this camera. When handheld, the images aren't too shaky though. I think maybe I should get a NEX-VG10? At the end of the day, I'd love to have a camera that's not too bulky and can shoot very good images, not too compressed, with an e-mount. Getting good sound isn't a priority. I also think it might be possible to get an external SSD recorder to plug in the HDMI of the Sony NEX, thus I would have an uncompressed image from the NEX? At the end of the day, I've used more than 80 different cameras to make my films, and I feel like the search can be endless, although I know the content is what matters more than the tool. But please let me know what you think.
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RED Camera (Scarlet-X) Camera Package W/ Lenses. ( not insurance necessary ) Hello, I'm a Cinematographer / AC based out of LA and I travel anywhere. I want to learn about your project as I look for best ways to contribute. Demo Reel: http://www.usphotograph.com Please Contact via website or Cell: 310-936-619 four Gear: Red Scarlet-X 4K package w / Great lenses $350/Day ( Promotional offer ) I can DP or AC, Day rate $350. ( Promotional offer ) List of gear http://diegotorroija.com/portfolio-2/gear/ Also available, sliders, steady cam, lights, grip gear, sound gear. Clients include: Puma, PGA, Holiday Inn, Orbitz, Intel, Clairol, Rooms To Go, and more , Camera Operator, cinematographer, Videographer, D.I.T, 1st Ac, Red Epic, Red One camera, Red Scarlet music video, shorts, commercial, Feature films, Steadicam, Canon 7D, 5D Mark III, camera slider, Dolly, Red one camera, Red epic, Red scarlet, HMI, Tungsten, Kino Flo, Hvx200, DVX 200, Sony, Canon 7D Canon 5D Dslr Arri fresnel C stands Red Epic Scarlet Dolly camera HD gaffer cinematographer DP, slider zip lights Led lights flat head 80 lights grip flags apple box light stands joker source four Hmi Par mathews dolly Idx V mount batteries HVX 200 tripod fluid head storm case HVX 200 Red One Camera, Designed, Red Charger, Red Monitor Ikan zip lights Arri tube
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I've just finished up my second demo reel ever for 2013 and I'd love to get the communities feedback. I'm working more in the direction of narrative and commercial work. Here is my reel: Let me know what you think!
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Hello everyone, I'm new to the forum and the search bar wasn't returning anything (or even loading pages for that matter) on what questions I have, and I wasn't sure where else this thread should go... I'm not very forum-savvy. I'm a sophomore currently attending Northern Arizona University majoring in Strategic Communications with an emphasis in advertisement. I've been strongly interested in photography since I was in 8th grade, but did not think that majoring in photography would be such a great idea, so it's my minor.. Anyways, my original major was Electronic Media and Film, but the program here at NAU isn't very good in that aspect, and I've read that majoring in film for an undergrad degree isn't really that relevant in the industry anyways. So my questions are the following; after I get my BA would it be a good move to go somewhere for a masters in cinematography or film, or should I just relocate to a strong "film making city" and begin internships and working on my portfolio (also, how relevant would stills be)? Now I know that making it big, or even at all, in the film industry is not an easy task, but my ultimate admiration is to become, at least, a respected cinematographer. The main question I have is; what should I do after my undergrad? -
Looking for an assistant cinematographer to shoot an opening scene of a 20-minutes independent short film. Cinematographer should have a DSLR camera or access to one and necessary gears (tripod, & slider.) Student DP's with experience are most welcomed. No pay, volunteer only. Shooting will be few locations around Manhattan to show NYC as location. Cinematographer’s name will be added to the credits, and will receive a copy of the film. Food and beverages will be provided. Cinematographer will be working with award winning film director and artists.
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A sample of some recent work, most shot in HD but also on Super 8 film format, there's even a sequence that used a LomoKino camera. There are also some 3D. https://vimeo.com/77797742
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Hello, everyone! So I'm a fifth-year college student, but I only realized my "calling" as a cinematographer this past December. I'm a little surprised and upset that it took this long to realize that this is what I need to do with my life, but...that's the way life goes, I guess. I've spoken with some of my teachers in the theater department, and many of them insist that I don't need a film degree to be a cinematographer. However, I can't help but feel as though I'll be at a disadvantage. I'm not getting the training I need to do what I love and want to do. I'm not making the connections I need to be making to be successful. I'm willing to work my tail off, and I want to learn, but breaking into the business, only to learn when I get there, seems a little odd to me. If there's any advice anyone can give me as to what I should consider (short of transferring again and more or less scrapping the education I've gotten so far, because I can't afford to do that), I'd appreciate it greatly!
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Hi. Now that the Black Magic have been on the market for a while, I would love to hear any experience shooting with this camera? I am going to shoot a short film soon, where this little camera could be very cool to shoot at:-). Thanks, Henrik A. Meyer www.henrikameyer.com
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We have changed the format of the show slightly - it's shorter!! - And more punchier etc so please let us know what you think. This week we look at the trailer for local South African film, "Jimmy in Pienk", we review an IOS app that will help you with Shot-Listing, and we have a look at the "JOBS" Trailer. So let us know what you think of the new format - and thank you for watching!!! (We would really appreciate if you subscribe to our YouTube channel as well) http://www.youtube.com/watch?v=HESI1qHStOA -
Hey everyone, This may seem like a double post (as I already posted in "Jobs, Resumes and Reels" some time ago) but this one is more about getting a feedback and because I really would like you guys to critique my work and say anything you think about it, good or bad things, I won't be offended no matter what you say. Oh and I also made things easier and embeeded the video below. Enjoy! (or not!) Click "HD" to view a larger version on Vimeo.
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(LOS ANGELES, CA) - Cinematographer Robert Yeoman, ASC will headline the annual Kodak Focus program at this year's Los Angeles Film Festival. The intimate conversation will spotlight Yeoman's artistic and technical accomplishments by screening scenes from 35mm prints of Moonrise Kingdom, Drugstore Cowboy and The Royal Tenenbaums. The Kodak Focus takes place on June 16 at 1:10 p.m. at the Regal Cinemas at L.A. Live. The seminar is free with a festival ticket. Yeoman won an Independent Spirit Award for his memorable cinematography on Gus Van Sant's Drugstore Cowboy, and was also nominated for Wes Anderson's Moonrise Kingdom. Yeoman has photographed all of Anderson's live-action features, including Bottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic With Steve Zissou, The Darjeeling Limited and Moonrise Kingdom. Yeoman also photographed Wes Craven's Red Eye, Roman Coppola's CQ, Noah Baumbach's The Squid and the Whale, Drew Barrymore's Whip It, Paul Feig's Bridesmaids, and the soon-to-be released The Heat. The LAFF festival, which runs June 13-23, celebrates independent and international cinema. This year's festival in downtown Los Angeles will screen a diverse slate of nearly 200 feature films, shorts and music videos, representing more than 40 countries, along with such signature programs as the Filmmaker Retreat, poolside chats, master classes and more. There will also be a number of free community screenings. Kodak's Entertainment Imaging business is the world leader in providing motion picture film and imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion. Follow us on Facebook (facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm), and YouTube (youtube.com/KodakShootFilm). For more information on LAFF, visit www.lafilmfest.com. # # #
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