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Found 285 results

  1. Seems folks always beat me to posting the interesting stuff, but I'll keep drip feeding these as I think they're terrific and super candid. Rest is copied from the video's description: FEATURING SCENES & COMMENTARY ON - Blood Orange, Dazn, Ferrari, Adidas, Gatorade, Bose, NFL, Asics, Dazn, Michelob, Nemiroff, Tommy Hilfiger, Victoria's Secret and more. In our fifth episode, cinematographer Garrett Hardy Davis chats about the competitive new world of shooting remotely, where to find inspiration, how he got into the film industry, starting a career as a director of photography and behind the scenes of some of his latest projects. GARRETT HARDY DAVIS http://www.garretthardydavis.com/ https://vimeo.com/garretthardydavis https://www.instagram.com/garretthard... https://www.artistry.net/clients/dire...
  2. For Sale Set of 5 GL Optics Rehoused FF Leica Vintage 19,28,50,80 &135 Asking $34,500.00 Add $3400.00 for Duclos 1.7 Expander All in really nice condition.
  3. Cinematographer Kanamé Onoyama about his professional journey, a few memorable productions and his view beyond the current pandemic. KANAMÉ ONOYAMA https://kanameonoyama.com https://wp-a.co.uk/clients/kaname-onoyama https://vimeo.com/kanameonoyama https://www.instagram.com/kaname.onoyama/
  4. Taken from the industry showcase and networking channel of IN / DEVELOPMENT. Got their YouTube here: https://www.youtube.com/c/indevelopment Below is copy-paste, but the links are super interesting and Stephen's insight and honesty is wonderful. The series seems to have just started so might post more if they're great. Can't see anyone else mentioning them before. - - - Joe Douglas talks to fellow cinematographer Stephen Murphy about his professional journey, a few memorable productions and his view beyond the current pandemic. FEATURING SCENES & COMMENTARY FROM - The Favourite, The West Wing, The Moonstone, Hanna, Line of Duty, Years & Years, Krypton, Death and Nightingales and more. STEPHEN MURPHY - BSC, ISC https://www.stephen-murphy.com/ https://www.imdb.com/name/nm1094426/ https://www.wp-a.co.uk/clients/stephe... https://www.instagram.com/stephenmurp... JOE DOUGLAS http://joedouglasdop.com/ https://wizzoandco.co.uk/agency/joe-d... https://vimeo.com/joedouglasdop https://www.instagram.com/joedouglasdop/
  5. Has anyone here shot IR with the Panasonic EVA1? I own an EVA and someone asked me about it, I’ve never had a reason to shoot with this feature but I’m curious as to what situations it would be useful. Or is it something that allows for more creative options.
  6. A rare opportunity to discuss filmmaking with Rodrigo, Prieto, ASC, legendary cinematographer and collaborator with Alejandro González Iñárritu, Martin Scorsese, Ann Lee and more. Event date, May 14, 10 AM PDT. It's part of the NAB Express "Let's Talk Cine" free Zoom program. Info here: https://bit.ly/NAB2020LTC. Just click on the card and sign up using the blue zoom link below the session title and description. Get your questions ready!
  7. Wednesday, May 13, 1:00 PM, PDT - Join DP's Ben Kutchins and Armando Salas, director/camera operator Ben Semanoff and art director David Bomba, ADG, in a live conversation about the Netflix series “Ozark” and learn how they evolved the show's dark, picturesque look in season three. Full Let's Talk Cine/NAB Express program here: https://bit.ly/NAB2020LTC. Click the session card and register using the blue Zoom link below the session description and time. David Geffner, ICG Magazine executive editor, is moderating.
  8. Hi guys! Here is a new video that I did recently. Happy to be able to share it! I would be glad if you watch it and even more glad if you let me know what you think about it! Hope someone will like it and also hope that someone will give me usefull critic. Also did a Behance project of the video. I'll be glad if you take a look at this too!
  9. I have 2 Alexa Mini packages 1st Camera Alexa Mini Asking $44,000.00 Hours 1826 Comes with ALEXA Mini 4:3 License Key ALEXA Mini ARRIRAW License Key ARRI Look Library License Key Mini Viewfinder MVF-1 k2.0005861 Viewfinder Extension Bracket Arri K2.74000.0-VEB3 Mini Side Bracket MSB-1 k2.0006348 MSB-1 Arri Center Camera Handle k2.73002.1-cch-2 Arri Mini adptr plate k2.0006347 Arri Mini Side Bracket MSB-1 k2.0006348 Arri CSP-1 Shoulder Pad k2.0006807 Arri BPA-4 Bridge Plate k2.0006352 Wooden Camera A-box 5-Cards 2nd pkg. Alexa Mini Asking $46,000.00 Arri Mini VF k2.0005861 Hours 1195 Comes with Arri Viewfinder Extension Bracket 2-Arri Mini Adapter Plate MP-1 2-K2.0006334 Arri Center Camera Handle k2.73002-CCH-2 Arri Mini Side Bracket MSB-1 k2.0006348 Arri MAP 2Adapter Plate with Rod Support k2.0006347 Wooden Camera Bebop ALEXA Mini 4:3 License Key ALEXA Mini ARRIRAW License Key ARRI Look Library License Key
  10. WARNING: MATURE CONTENT. Speed Date is a black comedy about Jack and Natalie who approach their allocated time together with different mindsets. What could go wrong? [Best with Headphones] Shot on a Blackmagic Micro Cinema Camera + Sigma 18-35mm Lens.
  11. Hello everyone! I would love to get some opinions on the following. Let’s say you’re shooting a narrative, a 10 page dialogue scene over the course of 2 days. This scene takes place in one location, with blocking all in one vicinity. Would you rather A) Shoot 5 pages/day, jumping around to all of your camera/light setups for those 5, or B) Shoot 10 pages/day, shooting out half of your setups like wide, two shot, etc. Theres interesting pros and cons to both; as a DP I jump for the 10 page idea so I can be efficient with setups and time, yet a director might see benefit performance And continuity wise for the 5 page option. Worked on a feature recently where this problem arose, and would love to hear everyone’s opinions and logic.
  12. Hi friends Can you suggest me a subject for thesis about cinematography and television? thank you
  13. Hi people, Would very much appreciate if anyone could shed some light on how this shot was achieved (in production and in post production). I can see its on a periscope camera lens for this shot, but is this just because they are shooting on a large film camera? Could this be achieved without the periscope if say using an alexa mini? If so what type of lens is ideal for this? And I assume the point of view digital tunnel is added in post with rotoscoping around the interior of the goggles first before coming in to full screen. If this is indeed the case can anyone tell me what they are raising in front of the actors face as the camera turns in the second picture? Thanks so much. Please find the clip from the movie (Timecode 00:25-00:32)... Also please find the link to the video showing the BTS (Timecode 00:42-00:45)...
  14. Having recently played games on the PS4 like Death Stranding and Detroit: Become Human that seem to rely heavily on the seamlessness between the in game cinematics and gameplay, I’m curious of the overall feeling toward video game cinematography and how the community feels about it’s future. I remember seeing an article in American Cinematographer about Detroit: Become Human, which first piqued my interest in the medium. Is this type of cinematography other DPs are keeping their eye on? Also, if anyone knows of any resources that are available for someone like me who is interested in the medium but comes from a traditional cinematography background; it would be greatly appreciated if you could point me in the right direction. Thanks, RC
  15. Hi guys, I'm a data manager and a digital imaging technician student. I'm looking for books about dit since a long time. I found these two on internet: Imaging processing for cinema - Marcelo Bertalmìo https://www.amazon.it/dp/1439899274/?coliid=I1MCJA8LDTC8HY&colid=2K966BF7HDL56&psc=1&ref_=lv_ov_lig_dp_it The Filmmaker’s Guide to Digital Imaging: for Cinematographers, Digital Imaging Technicians, and Camera Assistants https://www.amazon.it/dp/0415854113/?coliid=I2JPL1XV8KFXW5&colid=2K966BF7HDL56&psc=1&ref_=lv_ov_lig_dp_it Anyone knows something about these books ? Really appreciated any advise about other books.
  16. Hey everyone, I've been looking for a solid, hands-on introductory class for a while now and I'm looking for some advice, recommendations, tips, things to look (out) for. The program should give me a foundation on which I can build for the coming years. I want to learn the tools and craft, not how to use a particular camera. I've found three solid options so far, and they are: 1- Maine Media Workshops (Maine, USA): 10 week intensive cinematography workshop. PROS: Asked around and this program is definitely solid with some world class instructors. CONS: Extremely expensive. (16k) 2- Global Institute (LA, USA): The foundational programs. PROS: World class program and instructors, located in L.A. CONS: Asked a friend, apparently even the foundational programs are a bit too advanced for someone who's never worked in the camera department. Pretty expensive (expensive at about 10k for a bunch of classes). 3- Afilms (Barcelona, Spain): 3 month Feature Film Cinematography. PROS: Solid program, but not as good as the other two though significantly cheaper. CONS: Starts in a year, that's in quite a long time. I feel like doing this in a couple of months. I don't mind studying anywhere in the world, as long as I can justify it to myself. The class should be technical. I've been curating and improving my eyes for a while now and I'm pretty familiar with filmmaking at many levels, but I want to demystify light (or at least start the process), as I feel it will benefit me greatly as a director. I also feel like shaping light, so being able to DP my own little projects, explore studio photography etc. is something I'm interested in. I'm not under the illusion that I will become a DP after this workshop, I just want to be able to think like one at a basic level, so I can improve myself in the future. Director's showreel if anyone's curious. Thanks in advance.
  17. Hello all, I’d like to get the word out about my book, which is coming out this month. I have been teaching lighting at Fairleigh Dickinson University for the past 12 years and while there are some excellent books on cinematography out there, such as Film Lighting and Reflections, I never found one on lighting that was directed towards film students and cinematographers who were lighting with limited resources. My students found those books inspiring but not immediately applicable to what they were doing on the films they were shooting. I started as an AC, then become a best boy, gaffer, video LD and indie cinematographer and worked on so many different kinds of productions with so many different budgets that I was able to developed a course that was a good foundation for young cinematographers to help guide and inspire them to do creative lighting on a budget. Two of my students have gone on to be accepted into the AFI cinematography program while other students of mine are now working as electrics, gaffers, ACs, camera operators and one is a great steadi-cam op. At a film teachers convention I was approached by an editor from Bloomsbury Press and asked if I would write my class into a craft book that could be used by other colleges and budding DPs. I said I would if she promised they could keep the price down to under $30 – as I know how expensive textbooks can be and how few students will actually buy the expensive ones. While this means I would get a tiny royalty, I didn’t really care, because I wasn’t doing it for money – but rather as a way to give back. I learned so much from so many, it is our obligation to pass on the art and craft that we learned and love. She agreed. The result is "Lighting for Cinematography: a practical guide to the art and craft of lighting for the moving image", now available from Bloomsbury Press and Amazon. Lighting for Cinematography, the first volume in the new CineTech Guides to the Film Crafts. Broken down into 14 chapters with exercises at the end of each, the book is designed to help the reader create lighting that supports the emotional moment of the scene and contributes to the atmosphere of the story. Chapters cover such things as lighting for movement, working with windows, night lighting, lighting the three plains of action and non-fiction lighting and include stills and lighting diagrams from indie budget productions. also my website www.lightingforcinematography.com
  18. I recently came across a well known DP's story on Instagram in which it was seen two cameras were stacked on top of each other. It was noticable that both the cameras had different magnifications (different lenses). I can't help but wonder why he might have done this given that these cams shoot 4k/6k or so, he might as well have just cropped in as required. Would be great if someone with experience could explain why this is done. I have attached a screenshot for reference.
  19. 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
  20. Hello guys, I have a very stupid question, haha. I will have a interview shoot next week, and it will be my first time working with projector. So I have some question regarding working with projector, fist of all, would I be able to use projector as my KEY light? Second of all, what should I be aware of working with projector? (I am worry about the flicker) Third of all, I do not know if I could use projector as my FILL light and have my own lighting unit play as KEY light? Guys please share with me some of your experience working with projector!! Thank you so much for taking time read my stupid questions, really need some help!
  21. Hello everybody. I just got my chance do a music video for an accomplish singer. I will be the cinematographer. There are two shots the director wants to get. Fortune cookie is the main element in the video and the story. The director wants to see the shore line filled with fortune cookies as the waves are bringing them to the beach. As an alternative we can use a mountain of fortune cookies at the beach. Since we don't have permit to shoot at the beach and throwing the fortune cookies in the ocean is not possible I am trying to find a way to achieve this by using practical effects. The biggest problem is that we need to shoot it this coming Tuesday. Not much time. I already rented a Laowa 24mm macro probe lens to get some of the shots we need. I was thinking of using this lens and forced perspective to get the effect of mountain of cookies. I am thinking of using a table covered with the same sand from the beach we will shoot. Then make a mountain of cookies on the table. By placing the singer in a distance place I am hoping I can get that shot. It would be better if we had smaller scale of fortune cookies but in this case it will look like a mountain of giant cookies. I am assuming that I can get this shot. How would I achieve the cookies hitting on the shoreline by the waves? The director herself will edit the video and I don't think she can do it in post. I can help her maybe if I can get some advice on how to shoot it. I was guessing that maybe we can do something with greenscreen. Maybe have them swim in a small pool in front of a green screen and some sand. I don't know. If anyone has idea please share it. I would really appreciate it. Thanks in advance.
  22. I'm relatively new to drone (18 months) but have found that once you have learned the controls it simply becomes another "tool in the box", another way of placing your lens in different or unusual places. I have a passion for landscape and enjoy trying to tweak the HLG (HDR) format to its full potential. Still learning but enjoying the ride. https://vimeo.com/335046212
  23. Panavision, the world-class provider of end-to-end solutions, will return to Cine Gear Expo (May 31-June 1) at The Studios at Paramount to showcase the latest innovations in the company’s ever-expanding production and post production ecosystem. Panavision, Light Iron and LEE Filters will display an array of integrated technologies and systems at booth S408 on Stage 3 – ranging from lenses, cameras and filters, to state-of-the-art production and post production workflows – that illustrate Panavision’s commitment to providing the most versatile and powerful storytelling tools. “At Panavision, our vision is to support filmmakers with solutions that expand creativity and efficiency,” says Kim Snyder, president and CEO of Panavision. “We’re always focused on adapting the tremendous power of technology to the needs of the visual artist. We’re proud and excited to demonstrate our latest advancements.” Among the breakthroughs on display are Panavision and Light Iron’s new LINK HDR system. Creatives are producing for HDR-capable distribution platforms more than ever before as consumers seek premium viewing experiences. LINK HDR was developed to address the challenge of viewing HDR (high dynamic range) images throughout the production and post production process. Offering HDR and SDR viewing options in tandem, LINK HDR provides cinematographers, directors, editors and creative talent throughout the imaging chain the ability to view their image at the same quality delivered to consumers. The LINK HDR system consists of: Panavision LINK HDR On-Set Cart – a modular cart outfitted with various monitoring configurations that offers creatives the ability to view HDR and SDR live from the camera. Light Iron LINK HDR Dailies – an NLE process that creates HDR and SDR deliverables simultaneously, which allows editors to cut, toggle between, and export in either format. Light Iron LINK HDR Finish – a combination of creative talent, technical expertise, and leading technologies that link the creative decisions made on-set to the HDR mastering process for delivery to various HDR platforms. “As adoption rates of the HDR format rapidly grow, it is more critical than ever for creatives to view a consistent image from on-set through the finishing suite,” notes Light Iron Supervising Colorist Ian Vertovec. “We want filmmakers to have all the tools they need for this new deliverable. The components of LINK HDR were designed with them in mind.” Panavision’s Millennium DXL2 and DXL-M camera systems will also be showcased at the Panavision booth, demonstrating the value of this expanding ecosystem. With new industry developments, the DXL2’s 6G 4K SDI outputs, which allow direct connection to a Teradek Bolt 4K with a single SDI cable, can now be fully utilized. The latest enhancements to the DXL2 also include: an integrated C-Motion F.I.Z. module allowing the use of Arri WCU4 wireless lens control handsets with full lens mapping support; a proxy workflow that allows easy creation of traditional dailies while archiving 8K files for DI and VFX; a wireless audio module adding expanded audio capabilities; and DXL Control for iPhone and Android. The DXL-M, which marries the modularity and connectivity of the DXL with the smaller size and weight of RED’s DSMC2 cameras, is now available to filmmakers. In addition to the Primo HDR viewfinder, DXL menu system and LiColor2, the DXL-M now offers 2x2 SDI outputs delivering two independent monitoring paths across 4x HD-SDI outputs. Along with added accessories, battery elevator and control upgrades, these advancements add to the efficiency and flexibility of the kit. The result is a fully-equipped camera that is conveniently adaptable to any shooting scenario, including drone, remote head shots and situations where space is at a premium. Panavision’s LCND, a variable liquid crystal neutral density filtration system, will be presented with expanded new features. LCND is now wirelessly controllable via the Preston handset and offers functionality that translates to creativity on the set. The ability to maintain a given stop under changing lighting conditions by riding the ND filter instead of the iris adds powerful image control options at the moment of photography. LCND also has manual controls and a 24-hour internal battery built into the single filter tray. Panavision’s longstanding emphasis on delivering superior lens quality and unmatched selection continues to be a priority as it serves the artistic needs of today’s creative community. At Cine Gear, filmmakers can examine the company’s proprietary portfolio of optics, including the Primo-X (weatherproof and compact drone and gimbal solution), Panaspeed (large format, high-speed T1.4 with the classic Primo look), H-Series (vintage portrait look for spherical large format), and UltraVista (1.65x large-format anamorphic) lines, as well as other lenses in Panavision’s large-format offerings. In addition to exhibiting, Panavision, in partnership with RED Digital Cinema, will present a panel featuring Oscar®-nominated cinematographer John Schwartzman, ASC. Panavision’s SVP of Optics Dan Sasaki will join Schwartzman as he discusses his approach to visual storytelling and explores the fusion between visual concepts and tools. Schwartzman will reveal his decision-making process from pre-production to post on such projects as The Highwaymen and the upcoming Last Christmas, on June 1 at 11:45 a.m. in the Sherry Lansing Theater. LEE Filters will highlight the LEE100, a newly updated 100mm filter mount system that boasts lighter weight and improved performance. The LEE100 Filter System incorporates a rotation lock as well as a newly designed clip-on polarizer filter for ease of use. Additionally, LEE’s full collection of lighting gels, including the expanded range of Zircon gels specifically designed for fine-tuning LED fixtures, will be touted, as well as the ProGlass CINE IRND range of neutral-density filters, precisely built to meet the exacting needs of cinematographers. “The advancements on display at Cine Gear exemplify our commitment to providing end-to-end solutions that put creative flexibility in the hands of filmmakers,” says Snyder. “Each tool is conceived as an element of a unified ecosystem designed to deliver customizable solutions to meet any need or budget. We’re looking forward to the opportunity to present the results to our friends and colleagues in the filmmaking community, and we can’t wait to see how they’re used in the visual storytelling of tomorrow.”
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