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Found 7 results

  1. Hi guys, im new here, and i'd like some advice. I own a Canon 6d + 24-105mm, and i'm going to shoot a music video for a hip hop/trap artist. I've only shot a hardcore punk music video, and it was very fast paced and with several cuts. This time it seems to be different. Upon searching references, such as Post Malone, Travis Scott, etc, most, if not all videos rely heavily on slow motion scenes. Even the song the artist sent me is much calmer and sort of romatic than the others. But since the 6d can't shoot faster than 30fps at 1080p (if can with magic lantern, but the tests i made didn't turn up so good), i'm looking for alteranatives, and i strongly believe that the lack of resources boosts creativity and this might just allow me to create something different (I'm thinking different cuts, camera movements, etc) For instance, the artist want a scene with a woman in a white wolf mask at the beach at nightfall, kind of abstract, symbolic. And unfortunetely i can only thing of this in slow motion, but i'm sure it's just that i can find the right inspiration. I've been searching for movie scenes and music videos that could inspire me to have more ideas, and honestly i feel like slow motion is overrated and overused these days in music videos, so i'd like to move away from that but still keep this sort of poetic, emotional, abstract feel. Could you guys share some videos, scenes, thoughts, techniques and ideas that could work in a more symbolic and meatphorical scenario? I'll keep reading the forum and searching for more inspiration, but on google it's hard to find anything that DOESN'T involve slow motion when i search this subject. Thanks in advance! Cassiano.
  2. Does the DJI Ronin supports a Sony F55 camera, with a Compact Prime lense and a ffocus wireless? Which recommendation can you give me?
  3. RED WEAPON WITH HAWK C-SERIES: THE NEW MEETS THE VINTAGE. This week I would like to share one of my last experiences on set where I got the chance to use a cinema camera and a set of lenses for the first time. On one side, and I don’t exactly know why, it was an incredible long time since I used for the last time a RED camera and I didn’t had tried yet the “new” (even though there is already a newer model out there called Raven) 6K Weapon; plus, I did had seen the Hawk C-Series, but just in rental houses promotional meetings, and we all know that an actual set is a totally different environment. THE CAMERA Truth is that from quiet a few points of view I was gratefully surprised by the camera, since comparing to the RED Dragon it features severals tools that, if you want my two cents, are a consistent improvement, both in the operation of the camera as a 1AC and the performance of the camera itself. First of all... More information: http://www.camaleonrental.com/gb/blog/red-weapon-with-hawk-c-series-the-new-meets-the-vintage-n14
  4. As someone who loves film and the process of it all, and wanting a lucrative career in filmmaking, I would fight anyone who says shooting digital is better (than film) or anyone who puts film down for any reason because I believe film is superior. I still do, when it comes to the approach and the finished product. Well, fast forward into reality, I was about to throw down $3,000+ on an Arri BL4 (plus extras), spoke to a few owners who were more than willing to sell. And although I had that driving force to shoot film and have a big ol’ bad camera, something was bugging me, something was holding me back. Now, I am not a rich man, I’m just like you. But I started thinking, hmmm…most people can’t even tell the difference or don’t care about the difference in picture quality. They also aren’t helping me when I have to purchase, process and scan a 1000’ foot reel. Also, if I differ the costs to the client, then I price myself out of the market if I want to do any ‘for hire’ work. I’m also investing in a camera that will be hard to find parts. So what am I fighting for? Why do I want this uphill battle? Oh, right, the picture quality is supburb and digital still sucks. But it is getting better. Now as nostalgic as Super 8mm is, digital surpassed it. I don’t know if anyone out there could tell me they would want to see a feature length movie on Super 8mm. And as economically as it is to shoot 16mm to a certain extent, digital passed it in regards to resolution and clarity. And it’s just a matter of time before 35mm is caught up with, maybe this year by the new Alexa 65. With filmlabs dwindling in the world, and with Kodak one economic hiccup away from closing, why would I want any counterparty risk to be able to do my work? Yeah, yeah, Star Wars is supposed to be shot on film, etc. etc. etc. but if there’s an economic crash like is expected this year (possibly in the Sept. time frame), then Kodak will be gone, or will become super expensive. And if Kodak goes bye bye, then J.J. Abrams and team will be like, “Uhm guys, let’s do the George Lucas thing and shoot digital seeing that we can’t find any film. And Christopher Nolon might be crying in the bat cave.” And if there’s no film, then I doubt there will be any filmlabs. (Note: If you do not think we are set for a market crash or for an ever spiraling down of the U.S. economy, I invite you to take any U.S. currency bill out from your wallet (if you have any) and I guarantee you, you will not find a bill printed past 2009 (that includes that new $100 bill with the blue stripe…if you’re looking for some tangible proof to what I’m saying that is). You’re money is already monopoly money, you just may not know it yet, shh….mainstream news doesn’t want you to know. To this, l will say one thing and quote J.P. Morgan himself – “Gold is money, everything else is credit.”) So, do I want to buy a BL4 and possibly have nothing to feed it in the near future, and very limited places to process it when digital whom the masses have already accepted helps my wallet? Plain and simple, the infrastructure to shoot film is disappearing more and more everyday. Case in point, the two CVS stores that would develop my C-41 took their machines out last week. Now I have to travel or mail it somewhere. I don’t mind waiting for personal stuff, but for work and clients, I need it today. Now, I will still shoot film for personal use, my old Nikon FG is still kicking, or if I find a 16mm camera at a garage sale, or if a friend is shooting a 35mm movie and needs my help or my own little project, but for my work and my dime, uh-uh, I rather keep as much of my money as I can and shoot digital. What I do like about film is that it allows you be as artistic as you want to be, digital isn’t there yet, but it’s getting there on some level. And I’m not looking for a digital cam that will look just like film, that a pipe dream, but if I can find something I can at least work with, that could be something. I did see one video recently that got me thinking. It was footage shot with the Blackmagic production camera and here’s the link… Is the footage perfect? No, but it does have a different feel I think from the Alexas-Reds-Sonys-Genesis of the market. I could do something with this, I can work with it. The camera housing is butt-ugly, I would have to get passed that. And if not this camera, then another, but the bottom line is, digital makes a lot more cents. Where was my breakthrough you ask? I realized I was emotionally attached to film, and I needed to break that. It was clouding my mind from looking at things objectively. I didn’t want to do Blockbuster’s mistake and not foresee the trend and inadvertenly have my butt kicked to the curb by Netflix and Redbox. Big deal, I can’t call myself a ‘filmmaker’ because I’m not actually shooting physical film through a 40 lb. iron movie camera, oh well, I’ll just have to let that title go for a lucrative career. I’m sure I can find something else to call myself, like, ‘the camera guy,’ or ‘digitizer of the world’, whatever, who cares, at least I’ll have work and food in my stomach as I enjoy my craft. Just sharing my journey, maybe someone else can relate. Best regards, Alexander
  5. Hello everyone! My name is Grant. I'm a cameraman/editor from Russia. I'm 21, and I spent 5 years on learning and practicing in video industry. My dream is to shoot beautiful and interesting adverts/films with people who love it too. Unfortunately I live in Russia, in city where only weddings are popular, and no one need true quality. Of course, I participate in some "Big Moscow projects" but I understood, that the capital is not for me (non professional reasons). And now I decided to find a studio or comp., to work with outside Russia. And it is even doesn't matter where - Europe or USA/Canada. But move to another country without any contacts might be risky I want to ask you about any ways to implement my dream. Thank you for any advice. And have a nice day.
  6. Hey Everybody, I'm new to the forum, but I was hoping to get some advice from you guys here. I was asked to light a night for day scene for the web series that I have been gaffing on. This isn't the biggest of problems since it is an interior scene. I've lit this place before, and I've only had to deal with making small windows appear to have sunlight coming in. But in this shoot the main character has a conversation in front of 2 glass doors. It is in a garden level business with the glass doors opening onto a patio area in the front. To top it off, the scene is supposed to take place at dawn. I can think of a couple ways of lighting this, one being more ideal on a visual standpoint but I am not sure if I have the lighting power to pull it off. I'll start with that one. Idea 1. Have 1-2 lights aimed through the windows to give the character his rim light while aiming all other lights on the patio. This would hopefully allow the background to not be totally blown out and it would create a more interesting shot. My biggest concern here is that we will also be able to see the dark buildings across the street. This all depends on the camera angle, but obviously the DP is not going to want to shoot down on the subject to avoid this. Idea 2. Use diffusion on the doors and blast light through them to give them a blown out look. Obviously this will make for a less interesting shot and I don't want this episode to look like a pile of trash as it is Ep. 1 and everything else we've shot has been looking stellar. Idea 3. tell the producers to go **(obscenity removed)** themselves because shooting in the actual morning would look dope as hell and they need to stop being cheap **(obscenity removed)** bastards. Personally I like the third Idea, but the DP and I have essentially already tried this. Any thoughts? I have all tungsten lights. 2 1k's Lowel DP kit with 3x500 w 200w tweenie 2 500w broad lights and a few more random lights the rest of the crew might bring. Hopefully i can get my hands on a couple 1.2 HMI's before this shoot, but it's up in the air. I'd also take Ideas for gelling the lights to make it look more morning like. I believe a more orange look here is pretty common, but i'm open to experimental ideas. Also not sure if it matters for sake of dynamic range, but we will be shooting on the FS 700.
  7. Translating storyboard images or shot-lists into actual shooting is a creative process, with all the variables that entails. Creating a working flow from juxtapositions in the editing room requires one to work from the footage in hand. In my admittedly limited experience in taking video from start to finish, I have found that what I had hoped would cut well from a medium to close-up, often suffers a compositional awkwardness as a result of secondary elements in one or the other shot. For instance, even if both backgrounds have a soft, similar diagonal pattern, the cut from one shot to the next seems less smooth than pre-visualized, due to the displacement of the visual elements from one to the next. (I leave aside, in this consideration, cuts for which a high-precision match involves lining up a transparent template on the monitor for framing the second shot to work with the first.) Even with Walter Murch’s six-element priority list in mind, I wonder if anyone would care to comment on this issue, approaches to filming adn editing, the role of experience, or other observations or advice.
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