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Found 20 results

  1. 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
  2. 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!
  3. 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
  4. 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).
  5. 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
  6. Hey guys check out some of my favorite shots from this summer! https://www.youtube.com/watch?v=a3nMNsaYGAE Hope you enjoy! Taylor
  7. 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!
  8. 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!
  9. 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.
  10. Episode 9 of the Indie Film Academy Podcast, I'm talking with Caleb Pike about the best cameras available for indie filmmakers. http://www.indiefilmacademy.com/ifa-9-caleb-pike-dslr-video-shooter/
  11. This tutorial will teach you various techniques to sync audio and video in Adobe Premiere Pro and CC. Please like and subscribe for more tutorials.
  12. 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
  13. This simple tutorial will teach you how to use markers to edit to a beat of a song in Adobe Premiere Pro and CC. Please like and subscribe for more tutorials. If you have any questions feel free to ask.
  14. I was recently accepted to both UCLA and USC's film schools but I am having a very, very tough time making a decision. I will be a freshman this fall and I'm 100% sure I want to be a filmmaker. Throughout my life I have always been interested in writing. I started writing short stories in elementary and transitioned to writing screenplays in high school. My major for UCLA is Film & Television and my major for USC is Film & Television Production. I'm especially interested in Screenwriting, Directing, and Editing though I know I won't be able to declare concentrations until my junior year at the earliest. Also, I am from California so even though USC is more expensive, out of state tuition is not a factor. UCLA has been my dream school since I was nine years old so I'm completely incapable of making a non-biased decision here. Both are great schools which doesn't make this any easier. I love UCLA's campus and the creative freedom that comes with their film program a lot more than USC's, but USC comes with the trojan mafia which opens so many doors all on its own. I'm really stuck here and any advice would be helpful.
  15. Cinematographer - Oleg Zayanov (Los Angeles, California) Born in Russia, Moscow WEB - vimeo.com/olegzayanov Canon 5Dmarkii + 24-105L
  16. Hi you all :) I recently bought some cheap Chinese fresnel lights just to see if they are any good or not. I wrote some thoughts to my blog, and there is also lots of images! http://aapolettinen.blogspot.fi/2014/09/chinese-fresnels-are-they-any-good.html I'd say it is very risky to order this type of gear directly from China. Luckily I have worked years with professional lights so I dared to try these cheap counterparts just to see if they can be used safely by anybody...
  17. 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!
  18. 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
  19. Good morning everyone J I am new to the idea of making a feature film and especially trying to make it look professional. I have played with video work and editing for many years but my photography skills in terms of manual use are at the moment beginner, I’ve been told to make a film by a uk film maker I know and really excited about the prospect of giving it a go. If it’s possible I would really love some guidance, I would like it to look as professional quality as possible but of course budget is really tight (same as everyone I would imagine!), I’m considering between the Panasonic HC-X900EB-K HD Camcorder or a Canon EOS 650D Budget is a big issue, and that is probably the best I can stretch as a I will have to get other accessories as well, I’m sticking to a mixture of Cinematic & found footage style mainly for the more forgiving nature of it, thought it was wise for a first attempt. Not being a pro the Panasonic seemed wise with the better auto modes if I found manual too hard to get it right, but my big concern is the 50p mode, I will be editing in Premiere / After Effects, with the final render going to Bluray & DVD, the primary format will probably NTSC ideally, but it will all be filmed on UK PAL equipment (I know, I know), the Panasonic doesn’t have a 24p native mode, the primary format will be NTSC for the reason if I manage to pull it off and its all watchable and ok my film maker friend has said he would distribute it (has a few independent film distribution companies) but of course this means a hell of a lot of video conversion going from the 50p format to NTSC DVD, after editing, I’m worried this will also effect the pacing of the final edit, I have never converted files that drastically before. The problem with the Canon is I feel while it has the 24p recording mode, I’m worried about the lack of stabilization with the idea of a newbie film maker and especially found footage style, and especially my lack in experience of manual use of cameras, I just keep going around and around in circles changing my mind constantly :/ I don’t want to make the process too complicated for a first time hence why the film itself will me very small production and if it makes a difference quite a lot of it will be night time footage. Sorry for the long rang, I would appreciate anyone else’s experienced input if I haven’t put you to sleep J what do you guys think ?.
  20. Here is my newest short film, ’i love you & goodbye’. Photos in motion, consisting of 4,733 pictures. A relationship between a young couple, from the first I love you to the dreadful goodbye. Let me know what you think! http://www.youtube.com/watch?v=pSqZZrmJcXQ&list=UUsTYaGYnM3BUWm49AEdmAjA Subscribe to my YouTube Channel !! http://www.youtube.com/erichasaids
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