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Found 60 results

  1. Hi there! This is my first music video as a working DP in LA and I'd love for your feedback. This was a 2 day micro--budget production shot on an Alexa Classic with Vintage Russian 'faux anamorphic' glass. I had to operate and pull my own focus which made some shots challenging at times.
  2. Hey all, I was recently drafting my personal contract which I was taking from Imagos template contract for DPs. Here is the template: https://www.imago.org/images/pdfs/CINEMATOGRAPHERS/MODEL%20CONTRACT%20FOR%20AUTHORSHIP%20-%20version.22.01.08.pdf . In article 7.2, its speaks to Copyright Collective Socities. I understand the purpose of these copyright collectives, but after some searching, did not find any socities of note in America that cover motion picture professionals. Since this is from Imago, are these Socities more common in Europe than America? Does anyone have any more info on joining a Copyright collective?
  3. 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
  4. Hello, I just finished helping a friend of mine with a shoot and the DP on set had two tools with him. One being a light meter and the other one I couldn't figure out what it could be. He would take a reading with the light meter then he would take this tool out of his pocket and a green light would flash and then he would look at it, then adjust the film camera. I thought it could be a pocket camera but I have never seen it before. Just looking to see if anyone knows what this might be. Thanks,
  5. I wanted to know is there any good lighting resource material that anyone would recommend? I know that experience is the best teacher. I'm looking for books or videos to show how to manipulate light to get the look that a director is looking for? Thanks,
  6. Hey guys, I haven’t been on here for a while. I’m looking for some advice. Sorry if this is long winded…It’s been in my head for a while. I’m a Scottish DP based in Hong Kong and I’m thinking about relocating back to the UK & trying to get into production work. A bit about me : I have an undergrad in Film from 20 years ago and about 10+ years experience in the camera side of production…everything from AC to Gaffer to DP but mainly on small productions - loadsa of Short films, Indie Music Vids & tons of corporates. (I’ve shot corporates & Indie stuff in about 12 different countries.) I haven’t shot very regularly for a few years after a back injury took me out & I ended up getting a very well paid job in another field. When I recovered I didn’t want to continue shooting corporate jobs but I have been teaching Cinematography at a Film School part time and that’s fired me up again. I’ve always wanted to work in the scripted TV/Film drama genre but there just aren’t many opportunities here in Honkers for non-locals and I feel like there are no options to progress – I really should have left 10 years ago. I’m single, getting on a bit - 40+, female with no strings attached…no debts etc... So my question : How would someone with my years of filming experience but no real 'industry' experience fair in the UK film production scene? I've lived outside the UK for about 17 years so I’m considering taking an MA in Cinematography partly to acclimatize myself back into the country & partly to network for industry contacts plus I do enjoy teaching film and Masters would allow me to teach college classes if things didn’t work out.... BUT I’m not sure if I should go this route? It’s quite a lot of money to put out…OR …would I be better keeping my money to support myself while I just try to network on my own to get contacts & production jobs. In terms of work I have no delusions of turning up & getting DP work and I would have no prob starting at the bottom of a cam dept or even a rental house, I just want to work in the camera dept with good crews but is it realistic for someone in my position and age to try to re-start a career that's been on & off for 2 decades & what route do I take? Thanks for any thoughts or advice...harsh, truthful or difficult...I'd like to hear peoples honest opinions so i can make an informed decision...
  7. It's a 4-week shoot here in L.A., mostly at one location. Although low budget ($850k), we're a very experienced team, and you can see us here. We've got 15 Emmy nominations and won 4 (The Simpsons, Frasier), and have an Oscar-winning composer on the project. And yes, we know lots of DPs, but they all work at the network/studio level and we can't afford them on this. Also, they're all booked. ;) So we need a hungry up-and-coming DP for our Christmas comedy. Shooting on an Alexa and finishing in UHD. The movie has distribution. This is a character-driven family Christmas comedy. As for style, it would be as though Woody Allen directed A Christmas Story. Longer takes, but with fast-paced farce. Lots of blocking. Excellent cast with great comedic timing. As a director, I'm extremely collaborative with the DP, so you won't be just following orders. I want a creative partner, not someone phoning it in. It's a great chance for someone who wants to (1) get a feature under their belt with a fun, Emmy-winning team, or (2) has been doing lots of drama/horror and wants to cleanse their palate with a witty comedy. Of course there is pay, but remember the $850k budget. Please post links to your reel and I'll look at them all. Many thanks, David
  8. Hello, I'm seeking a DP for a feature film. I'm still putting together many of the moving parts such a named actors, money and locations therefore this director of photography will become part of the package I present to financiers. Ideally, I'm seeking someone who has 10 years plus experience and has at-least 3 films to his/her credits that are theatrical releases. Why is theatrical important especially today you may ask. Good question. Someone who has films continually exhibited in theaters knows what a theatrical film should look like. I'm not seeking someone who can shoot a TV looking movie. I'm looking for a cinematographer who understands how a shot translates when it's project 20 ft height and 50 ft long and the understand lighting and color. Some of the film will be shot under water so knowledge of underwater shooting is helpful especially when dealing with lighting. Also, some very important scenes will be shot at night and I'm looking for less grain in the blacks for my night shots. I understand grain can be cleaned up however the less we have to do in post the better. If it's right when it's shot, it's better in the edit. I'm projecting starting this film in the fall or maybe spring '18. We'll know more once the dust settles. If interested, Please send, IMDB, resume, day rate, and bio. Thank so much. Dt.
  9. Hi, Please take a look at my some of my work. Technical as well as creative feedback would be much appreciated. Thanks in advance. Tanul https://vimeo.com/114125050 https://vimeo.com/153612386
  10. Finished up a passion project. Short narrative, thought I'd share it guys. Shot on BMCC 2.5k w/Speedbooster and Sigma art 18-35 Lens. Shot Raw and graded in DaVinci Resolve. The story and idea is based on experimenting with the power of music.
  11. Hi Cinematography Friends, Just finished my 2017 filmmaker reel and would really appreciate some feedback from the community. Thank you for taking the time! JJ Osbun https://player.vimeo.com/video/215070717
  12. Could it just be that Georgia has a 30% tax credit as opposed to MA's 25%? Lack of top tier talent? I ask because I've recently begun freelancing here and I aim to be a DP someday but I'm having trouble finding any major DP's in the state, commercial or film. They're just imported from NYC when needed. What needs to happen so that Boston can be a competitive city in the film and commercial world? I love this city and I'd rather not move!
  13. hello guys, I reedited and hopefully tweaked my cinematography reel, if anyone’s curious about it here is the link: https://vimeo.com/200803231 Feel free to throw in any feedback/advise, always more than welcomed! thank you :) S.
  14. In the middle of Feb. I will be DP'ing my first feature film. I will be providing my personally owned lighting and grip equipment as well as a RED Dragon cam. I will be lighting the scenes,camera operating, and providing directorial advice to the director. Shooting is scheduled for 3-4 weeks. There is a budget for me to be paid an (ok) rate in installments over the course of those 3-4 weeks. The film will be submitted to bigger studios/reps/investors for consideration of being picked up or bought and being produced on a bigger scale with bigger budgets. In the event that our version does actually get picked up, I assume the the producer/production team is compensated for it correct? How exactly does it work? Is it one payment or is it like royalties? I'm currently typing up a contract that is due in 24 hours to define the terms of work and payments for the project and I want to make sure that if there is backend compensation from getting picked up, that I get covered and receive a piece of that compensation. How should I word this in the contract? Any advice would be greatly appreciated?
  15. In the middle of Feb. I will be DP'ing my first feature film. I will be providing my personally owned lighting and grip equipment as well as a RED Dragon cam. I will be lighting the scenes,camera operating, and providing directorial advice to the director. Shooting is scheduled for 3-4 weeks. There is a budget for me to be paid an (ok) rate in installments over the course of those 3-4 weeks. The film will be submitted to bigger studios/reps/investors for consideration of being picked up or bought and being produced on a bigger scale with bigger budgets. In the event that our version does actually get picked up, I assume the the producer/production team is compensated for it correct? How exactly does it work? Is it one payment or is it like royalties? I'm currently typing up a contract that is due in 24 hours to define the terms of work and payments for the project and I want to make sure that if there is backend compensation from getting picked up, that I get covered and receive a piece of that compensation. How should I word this in the contract? Any advice would be greatly appreciated?
  16. Hey everyone! I will be attending Emerson College's LA campus fall of 2017 and we are required to hold an internship for the semester. My focus is cinematography, and am particularly looking for internships that pertain to it. However, this has so far not been an easy search. Most internships I see are "entertainment" or administrative internships. I'm not worried whether it's paid or not, and certainly do not mind internships that require office duties and tedious workloads. My one desire is to find a place where I can at least learn something about the craft and industry. So far, interning for Shane Hurlbut or Panavision is about the best internships I could find. No doubt I could put in time at a rental house, but I've seen many say that time could be spent better elsewhere. Anyone have experiences or suggestions for finding said internships or any that are cinematography based in LA?
  17. So I am heavy into interviews and music videos and but I just finished up my short film. I am wondering what type of work people look for on a reel that pleases there eye. Do you guys have any examples or your reel you could share with me? I'll been making my self busy trying different kinds of video work to get better looking stuff.
  18. any DPs out there with some useful tips?? Anything you wish you would have known when starting out as a DP?
  19. WRITER/PRODUCER/VISUAL DESIGNER SEEKING DIRECTOR OF PHOTOGRAPHY WITH HER/HIS OWN EQUIPMENT WHO CAN EDIT AND PRODUCE — TO PARTNER ON PRODUCTIONS Hello everyone! Thank you, in advance, for taking the time to read my post. If it interests you I look forward to hearing from you... if it doesn't then I simply wish you amazing success on all your projects. I cheer for everyone to get their TV and film projects made! Okay...I'm a writer and producer, and a visual designer. I have multiple completed feature scripts and many more ideas/treatments. I have an open invitation for a pitch meeting with an Emmy winning TV producer who has produced hit after hit. I have received extremely positive feedback and praise on my feature scripts from other producers, known/recognizable TV actors, as well as Emmy nominated writers. Here is an excerpt from my recent thriller script feedback from one Emmy nominated writer who is also a director and a Sundance Grand Jury Prize nominee: " It’s a really well done story and has a lot of box office potential ... It is often thrilling, suspenseful, and downright creepy — all ingredients you need in this genre. You have built a world that feels authentic and isolated, which helps enormously. I think audiences who love to be scared will eat this up. " I quoted them only to assure you that I can write well, as I know you don't want to waste your time anymore than I do. In addition to good feedback I was recently recommended to a lit agent by a couple of producers to be the screenwriter for the adaptation of an autobiographical book about a highly publicized national story. There are many projects I want to develop and shoot, but I need the right partner with whom I can grow with, someone with talent, a similar mindset, and equipment who can shoot and edit, and produce as well. I'm seeking someone who is extremely serious and 0% flaky. I have low budget, low-mid budget, and no-budget feature film projects we can discuss, reality TV projects, even YouTube possibilities. A few are pretty ready to go, some need more development, and many are just loglines or ideas we can build out. I co-produced a feature film (2010) that won a few festivals and had a small theatrical release before going on to its TV release. I have many years in the industry/LA and know some indie directors, distributors, DPs, producers, Emmy nominated writers and EPs, hair & makeup keys, production designers, other great crew, etc. I have good instincts, can think creatively in the moment, have ideas on how to structure funding to shoot, and am excellent at casting as I know what good acting looks and sounds like because I was conservatory trained and acted professionally in the past. In addition I have a B.A. in graphic design and have years of professional experience in NYC, DC, and LA designing posters, one-sheets, brochures, logos, etc. so we'll never have a one-sheet that looks like someone's dog made it in Microsoft Word. I am seeking someone who wants to commit to a real partnership of collaboration and focus on making product that will be captivating and commercially successful, and have a lot of fun as we go. If this sounds like the partnership you are looking for and you are a talented Director of Photography with your own equipment who can edit and produce, please send me an email with a little bit about yourself as well and a link to some of your work. Thanks for reading and for your consideration. I'm looking forward to getting projects DONE! :) EMAIL ME AT THE FOLLOWING EMAIL ADDRESS: partner2produce@gmail.com
  20. 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
  21. I'm looking to buy a Kowa Anamorphic lens set to PL mount, hopefully. Please let me know if you know of anyone selling. Thanks so much!
  22. " P I G S " Filmed in 35mm Eastman Color by Glenn Roland Director of Photography/Cinematographer New 2k DCP Restoration was Screened at Cinefamily Silent Movie Theatre on March 12, 2016. Out on Blu-Ray from Vinegar Syndrome - March 29, 2016 Director of Photography Glenn Roland is available worldwide for hire to film Motion Pictures, Television and Television Commercials. For Booking Call: (310) 475-0937 ENJOY THE HORROR! :o
  23. Hi, My name is Shan Jin and I am a freelance DP in NYC. I graduated from NYU Tisch Graduate Film in Cinematography and I have 5 years experience in film industry. I personally provide RED Epic Camera Package and I have my long-term AC/Gaffer team. I'd love to shoot as much as possible the projects that full of passion and creation. Please contact my email sj1378@nyu.edu or you can check my website goldenmountainfilms.com. Looking forward to talking with you. est, S
  24. Okay, guys and gals!! I have a few questions that hopefully the wealth of knowledge here can answer. First a disclaimer, (I actually like disclaimers for some weird reason): My goal is to lens commercials, films (short or long format), and the occasional music video. If given the opportunity, of course. I currently work for a production house that does very little in all those categories. So in the best interest of my personal goals I'd like to submit the following questions.: Is there a benefit to aligning oneself (as a cameraman/cinematographer/DP) to an ad agency? What are the challenges that arise when you build up a narrative reel, when trying to get into commercials and other types of work? Is it easy to get pigeon-holed as a “Insert Category” DP, or is that something that one unconsciously gravitates to? If most of your current work is primarily short form narrative; How do you branch out into other categories of work? There have been several examples of DPs rising through the camera department ranks, getting the nod for commercial work, narrative, etc., or gaining an opportunity for narrative work through documentary work; how often does that happen nowadays? Is there something that I may be missing as far as learning about how the political climate of our craft is going? Does that vary from region to region? If so, what is it like currently in Texas? (I live in Houston, where the bulk of the work is news and oil & gas.) Should I talk with a Union Rep. to figure out how I can better align myself with shooting productions in the aforementioned categories? There are only a handful of people in my state, that have any dealings with unions, and I'm wondering; Would it be better to move to another city, and start all over with the title “aspiring DP”? I'm sure I'll have a ton of other questions, but these are the most nagging to me!! Thank you in advance for your epic help!!!
  25. Just wanted to share a short film I was the Cinematographer on. The whole project was completed from start to finish in one month and a half, given our time frame I'm happy with the short film. I've been privilege to meet some great people, the whole thing was based here in Seattle. Camera: BMCC 2.5k RAW Lens: Rokinon 17mm 2T and the Sigma 18-35mm Art 1.8 Edited: Final Cut X Colored: DaVinci Resolve 12 Although it's in another language and sometimes hard to understand; it was a crazy fast experience, I'm very glad to have worked on it. I've worked on lot's of Bollywood Productions in LA and Las Vegas back in the day as a PA. Particularly "My name is Khan" It's funny after all those years I'm now involved in an indie Bollywood Production. I hope you enjoy it... Please, I'd love to get some feed back on the Cinematography of the short. I wan't to improve and get better. I'd like to know any constructive feed back on things. The last night scenes of the movie were shot on available light, no bounce or anything... It was also our first days of the shoot and we were still not up to speed on things. I think some of those suffered the most. **there are some shots one or two that were shot on the BMPCC with a very bad soft lens and they unfortunately made it in the film, also some weird artifacts from shooting in the night in really low light at the very end of the movie.** smile emoticon
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