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Found 27 results

  1. Hi, We are two technicians working in the film industry in France (a grip guy and a gaffer) and we just discovered this very interesting forum. We particularly noticed that gaffers and cinematographers were asking questions about light output and what aperture is obtained at a certain distance. It happens that with the help of two IT engineers we developed an iOS app responding to this question about 2 years ago. First and for all, we’re not going to post messages everywhere on this forum to sell our app nor are we going to pollute your threads to gain in visibility. We just think some of you might be interested in what we created and since we’re a really small team working on off-time we can’t do any real advertising, so you probably wouldn’t know our app existed. Our app is called Predilux (for pre-diction and lux for light) and predicts the exposure as measured by a light meter, by choosing a light source and a distance. Or inversely predicts the distance to the light source by specifying the exposure. Predilux takes into account: Camera settings (FPS, ISO, Shutter angle) Source settings (Focalisation, Lenses, Grids, Dimmer, CCT, etc) Gels mounted on or close to the source (All ROSCO e-colour+ range) All results have been experimentally verified by us with a light meter in rental houses. For each source setting we made several measurements at different distances and this took a lot of time. So Predilux does not rely on constructor’s data, but on real data reflecting the state of the equipment as found in rental houses. Our data sometimes differs from the constructor’s data. Here is a quasi exhaustive list of the sources measured and included in the Predilux (12/2019) : Tungsten ARRI 150, 300 Plus, 1K Plus, 5K Fresnel, T10, T12, Rubylight (MFL lamps) Briese 77, 100, 140, 180 with lampes ranging from 650 W to 2K Mole Richardson Softlite 1K, MaxiBrut 16 (MFL lamps) Openfaces such as Redhead, Blonde, Desisti Renoir 5kW and LTM Cyclight 2K ETC Source 4, Dedolight, Zaplight, CMC 20K, etc. HMI ARRI AS 575, 1200, 4K, 6K, 12K, Arri M18, M40, M90, ArriMAX 12K & 18K K5600 JokerBug 200, 400, 800, Alpha 1600, 4K, 9K, 18K AFM 575, 1200, LTM Cinepar 2.5K Fluorescent KinoFlo 2ft, 4ft & 6ft LED ARRI S30, S60, S120, S360 KinoFlo Celeb 200, 250, 400, 450, 850 DMG SL1, SL1 mini, SL1 Switch, MaxiSwitch Mole Richardson Tweenie, Senior, Tener Aladdin Biflex 1x1, 1x2, Flexlite 1x4, 350 Dedolight bi90, Cineroid LMD400, Velvet V1 Balloon Airstar Gaffair 1200, Elipse 4000, PAD 9ft x 9ft, Tube 16K If any of the administrators of this forum wish to try out our app, we would be happy to give them one or several free life-time activation codes. For all the other users, our app is available on the Apple Store (). An Android release is planned. If you have questions or requests, don’t hesitate to contact us at this address predilux@wid.la Thanks for reading this post and we hope you thought it was interesting, Georges Harnack for the Predilux Team
  2. Interview with CATHERINE LUTES CSC: CINEMATOGRAPHER LIFESTYLE https://anchor.fm/cinematographer.lifestyle Apple: https://podcasts.apple.com/us/podcast/id1457497882 Android: https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy85ZGYwM2EwL3BvZGNhc3QvcnNz Spotify: If you enjoy this podcast, please share. Not for profit, if it gets enough views, I'll keep it going. Cheers ♥ 🙏 Justin Lovell Associate Member of the Canadian Society of Cinematographers
  3. Hi guys Long time reader, first-time poster on the forum. Recently shot a short film, you can see here: https://vimeo.com/322197103 Would love some feedback. For context, I shot it as a one-man band, on Alexa Mini with Zeiss Superspeeds and glimmer glass. A lot of neg fill, 2 x astra litepanels and 1 x litepanels gemini.
  4. 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
  5. Hi everyone, I am just wondering if there are any people out there who are both directing and filming (as cinematographer) their work. And if so, what type of projects are those (short films, documentaries, etc.)? And what is your reason to do so (e.g. budget, more creative freedom, etc.)? Please note that I am not asking for a specific reason, just kind of curious. Feel free to share some examples, could be fun! Kind regards, Jaap P.s. meant to write simultaneously in the topic :P
  6. Hi guys, I'm Francesco from Italy and I just uploaded my Reel with many works realised in 2016. They are frames taken by commercial, short movie, videoclip, video art and documentary. I'd like to have your feedback or a simple opinion on these works. Thanks a lot everybody here's the link (obviously watch in HD) ;) https://youtu.be/NP-DBJvqa00
  7. Hi, I am a DoP on an upcoming shoot for a pair of commercials but I'm having a little trouble deciding the camera. I'm more on the lighting side than camera so I'm not to sure about which cameras are better than others. I was looking at a few but other than staring at the specs i didn't really get much information. I was looking at the Alexa, Alexa Mini, Red Weapon, Red Scarlet, Sony F3 (I've had experience with very minimal). the commercials aren't highly complicated but one of them deals with aquatic themes and the other superhero FX (such as laser beams and freezing) do any of theses cameras have a better read out in colours, which has the best mobility, do any have any serious problems, and your personal choice or opinion? once again I'm not really up on camera side of things so any information will help! Thanks
  8. 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
  9. ID Productions is a production studio based in Tirana, Albania. We are involved in the industry by producing TV commercials. We're interested to hire a DOP (freelancer) for our next 3 projects. If you are interested, please send us a Demo Reel. You may contact us here: idproductional@gmail.com Thank you!
  10. I'm a DOP based in South Africa and I'm wondering what websites you use to seek international camera operators etc. Reason being, I'd love to work with more international clients and expand.
  11. hello, i have a used like new sony F65 im planning to sell, along with its accessories, below is the list of items and the price Used-like new Sony Digital Picture F65 Camera:- (Excellent Condition) F-65 Camera Body. SR-R4 Digital Recorder. Dual Battery Adapter V-Mount. \\SRK-CP1 Control Panel. Sony HDVF-C30RW Color Viewfinder. SR-D1 Reader. SR-memory Card (2X512GB-1X256GB). Converter V-mount Cable. Power cable limo 8-pin. Rode (2X12'' - 2X9''). Camera Case. price: range between 40,000 -45,000 USD (negotiable)
  12. 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!
  13. Guys, I have a proposal to follow each other's instagram to look what are we doing, to share with each other our impression and our passion in images. Just write in this Topic link to your instagram. Let's be in touch. My instagram: instagram.com/d.mulenko
  14. Hi, I’m looking for a car cinematography specialized DP for a high end SPEC commercial. Green screen experience is required as the featured car will be driven on a large green screen cyclorama. Although a car specialist, this person must be good at lighting people as well. The shoot will take place on July 25-26 in Los Angeles. Non-Union shoot. Pay negotiated upon experience. Please apply only if you specialize in car cinematography. We need to confirm someone ASAP. If interested, please email a link to your reel/portfolio to crewapplications@mzo.tv Thanks.
  15. Hi all. I'm proud to present my new showreel 2015 as a cinematographer. It tooks me time to do it but it's worth the result. I wait for you feedbacks. https://vimeo.com/106486310
  16. Hey everyone, My name is Keerthi Prabath. I'm from Sri Lanka. I'm very interest in cinematography. So this collection of my cinematography works for the past two years and this is my first showreel. I used DSLR cameras to shoot all of this stuff. I'll hope your advice and comment about my work,.. Thank you
  17. Hello fellow cinematographers and film makers! If I could borrow 3,750 frames at 24fps of your time to review my new reel on my website listed below. It would mean a great deal to me if you could offer some critique afterward. I'm in the middle of a huge push to take my work and career to greater quality and new opportunities. I would be happy to return the favor. Thank you and happy shooting! Alex www.alexfuerst.com
  18. Hello guys! Here you'll find my new showreel! Please comments! Viméo: https://vimeo.com/82892635 Thanks! Merry Christmas and Happy New Year Axel Morin
  19. It seems that a DOP needs to learn to light for every situation and then tweak those according to script and specific locations. Though not exhuastive I have listed the situations in which one should practice lighting. Can you think of others that are good to practice? DAY Interiors room dramatic. Hard sunlight through windows with possibly a little fill. Interiors room soft. Huge softbox outside window with a little fill inside room if necessary. Interiors car and transports dramatic. Hard sunlight through windows with possibly a little fill. Interiors car and transports soft. Huge softbox outside window with a little fill if necessary. Exterior dramatic. Hard sunlight with some bounce fill for close ups - or recreate use mega HMI Exterior soft. Cloudy day - or recreate use mega HMI and huge diffussion screen Exterior Contre-jour.* Exterior underwater.* Exterior to Interior or vice versa** - Doorways mixing 2 of the above SUNSET/SUNRISE Pretty much the same as above but with lower sun and lower kelvin temperature. NIGHT Interior Dramatic* - such as a prison door opening. Interior Cosy - Practical lamps Interior Clinical - Strips Lights Interior Watching TVs Interior Candle scenes Interior Torches* (i.e. caves, breaking into a house etc.) Interior Moonlight coming in from outside Interior Streetlight coming in from outside Interior Car Headlights coming in from outside Interior Fires Interior Oil Lamps Interior Storm Outside* Interior Car Interior Party - disco lights. Exterior Moonlight Exterior Streetlights Exterior Car Headlights Exterior Fires Exterior Candles Exterior Torches* Exterior Storms* Exterior Underwater* Exterior to Interior or vice versa** - Doorways mixing 2 of the above SPECIAL SITUATIONS Greenscreen* Rear projection* Front projection* Smoke* Snow* Rain* I've starred some of them which I think are in particular the most difficult and need more practice on. Personally I find doorways extremely difficult especially when the exposures are different either side of the door and lighting is different e.g. walking from moonlight outside into cosy warm lit interior. Perhaps one should avoid opening doors in movies - have the character walk up to a house in the moonlight and cut as one puts the hand on the door handle to inside and hanging up a coat? Are there any movies or behind the scenes that you recommend watching for door and lighting transitions? Close-ups are not too bad it is the masters that are hard to shoot. I find torch scenes at night quite difficult because if you over crank the moonlight the torches light seems a little dim. Perhaps I need to use some 320 lumen flashlights and a bit of smoke. Though trying to get an even coverage of smoke is very tricky - amost need black garden sprinklers or tubing everywhere in a scene without it showing.
  20. Hey everybody, I'm a first time DOP working on a low budget short film, with tight deadlines and could use some help with lighting a medium size industrial type space. Its a dark rectangular room 15ft high high, 30ft long and 16 ft wide with no reflectable surfaces, except for the front wall which has a large white13x13 ft film screen on it, which I am thinking of using to bounce light off. Using 1k arri and a second light. Or a 4x4 bank kino flow. My lighting arsenal consists of two 1k tungsten fresnel arris, a 700w open faced arri, a 650w and 300w arri fresnel. And two Kino Flo 4x4 Banks. (tungsten) Some background info: We have one day to film and have 14 shots to do. The director wants a gritty realism feel. I want to keep the back ground lights stationary, to one side of the room. To create an ambient low light atmosphere through out the room. I was planning to bounce two Kino Flo 4x4 Banks off the walls, but since the walls aren't reflective bounce the kino's off foam core from the ceiling corner or just aim both Kinos at the scene from up high? Or should i light a 1k arri through a 24x36 silk to create a broader softer light source? As a key light I want dramatic directional lighting, slightly harsh. But with some fill so the shadows aren't jet black, and try to get the shadow edges a little feathered. For closeups Im thinking to use a 1k arri as a key 7ft high at a 45 degree angle with a 650w arri diffused from the barn doors as fill on the other side. And to move these two lights as needed and flood them out for lager groups off people. Any insight or opinions would be most helpful. * I have included a photo for reference of the room, on shooting day the room will be empty and darked out. Cheers, Mike
  21. https://vimeo.com/66794565 Hello! Thanks for watching my showreel. Pete Smthsuth Bangkok, Thailand // petesmiths@gmail.com
  22. Im from Argentina and i would like some feedback of my work. Thanks! https://vimeo.com/51286298
  23. Here is my new showreel 2012-2013 as a director of photography. I'm from France but i'm working abroad as long as director's need my skills. I hope you'll like my reel. I put pieces of me in it. http://vimeo.com/62165709 Enjoy it.
  24. Hi. I shooting a little narrative film on the Arri Alexa camera. We don´t have the time to shoot a test before we start shooting and I watched some test online about how high you can go with the ISO in the camera in low light locations. Do anyone in here have good experience with the Alexa camera? And how high can I put the cameras ISO with out seeing to much noise in the blacks? Thanks, Henrik www.henrikameyer.com
  25. Here my new site http://lucagrecofilm.wix.com/cinema searching for new jobs as cinematographer GEAR ​CANON 5D Mark II Sigma 24mm f 1.8 Sigma 50mm f 1.4 Samyang Cine 85mm f 1.5 Sigma 70-300mm f 4-5.6 Carl Zeiss 135mm f 4.0 Follow Focus Redrock Micro Field Monitor Lilliput 5D-II/o/p 7" LCD Hdmi 15mm camera rod Flycam 6000 with vest 150mm camera slider (also motorized timelapses) ​FRESNEL LIGHTS De Sisti Leonardo 1Kw x 3 De Sisti Magis 650w x 3 ARRI 150w x 2 ​FLUORESCENT LIGHTS KinoFlo type 8x55w bank Europass-CV-20130116-Greco-EN.pdf
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