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Found 10 results

  1. Hey folks, been lurking around here for little over a year now. This is my first post looking for insight, not sure if this fits here or should be elsewhere. I'll be shooting on a really low budget (~25k) feature in Mississippi this fall. I'm located and have been working primarily in Arizona, and neighboring states here and there. We are looking for a camera package and naturally, we don't have the money to pay full rate or even half rate. I'm not expecting to shoot on anything high end. I would just like to put together a reliable package that is able to produce the images I'm looking for. Who/Where is around Ms/La for camera rentals? What can I do (as dp) to get a package with the budget restrictions? Also is there any benefit in trying to acquire a g&e package through the same place?
  2. 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?
  3. 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?
  4. Hi everyone Our film The Legend of Ben Hall, an Australian western biopic about an famous/infamous Bushranger named Ben Hall, is getting Australian release on December 1st at selected cinemas. But also a limited screening for one week in LA starting December 16. So if you like the trailer and want to support independents, please go see it! For the LA screening you can get tickets @ http://www.laemmle.com/films/41459
  5. Adam is an award-winning cinematographer specializing in 4K HD, 16mm & 35mm. PADI certified, Aerial drone owner/operator. Looking for work. www.adamcohendp.com Resume_Cohen_09:2015_revised_local600.pdf
  6. Sony F65 Camera Package with Media. Please see the list below. Serious inquires only. If you know about the camera, but you are not totally familiar with all of the items below please email me. Sony F65 Body 1 F65 EVF and EVF Mounting Plate 1 Sony Riser Plate 1 Shoulder Pad 1 Sony F65 R4 Recorder 1 AB Battery Plate 1 V-Mount Shoe 1 Control Panel 1 2x 9pL to 9pL Cable 1 Accessory Bracket 1 Solid Camera 1/20 and 3/8” Side Mounted Cheese Plate 1 V-lock Connectors 2 4 2-pin, 4 3-pin accessory breakout box for 24V and 12V Power 1 (3-pin Fisher 24volt – 2-pin Lemo 12 Volt Connectors) Arri BP-9 1 Arri 12-Inch Dovetail 1 512 High Speed SR Memory Card (Black) 3 256 High Speed SR Memory Card (Black) 1 AC Adapter/ Power Cable 1 Frezzi Universal Juice Box 1 2x 10' 8pL(m) to 8pL(f) Power Cable 1 Anton Bauer Hytron 140w Battery 4 Anton Bauer Quad Charger 1 Sony PC4 Downloading Station with 10GigE Option 1 AC Adapter/ Power Cable 1 Sony SRD-1 1 **All Equipment is provided with hard cases or Pelicans System Hours: 697 Continuous 145 Periodic Please see images of the camera package with the link below: http://bit.ly/1FDvexT sean@3riveproductions.com
  7. My movie's trailer. -Camera: Blackmagic Production Camera -Record: 4K RAW DNG -Lenses: Carl Zeiss Compact Prime cp2 (25mm - 50mm - 100mm) -Color Grading: After Effects CC -Editing: Premiere Pro CC Director & Writter & D.O.P & Edit by AYKUT ALTINÖZ My other works: aykutaltinoz.com.tr
  8. Hello all, Here's a question that I would like to know the answer to: I'm preparing to shoot a short film, which will be entered into various film festivals, and there is a scene in the movie in which the protagonist is watching an old Western film (haven't decided on which one yet, but most likely The Wild Bunch (1969)). The movie will mostly be shown in the background, though for a few seconds I plan on shifting focus to show some of the violence from the clip. Now, my question is, would there be any copyright/legal issues with this? I plan on giving full credit to the studios in the final credits. Thanks, John W. King
  9. Bryan H. Carroll Captures the Heart of the Motorcycle Community (LOS ANGELES, CA) Walking West Entertainment and Gnarlynow Entertainment have completed principal photography on Why We Ride, the first feature documentary of its kind in years to explore all aspects of the motorcycling community and its riders. Project helmer and Gnarlynow founder, Bryan H. Carroll, (Public Enemies, Miami Vice, Collateral) is producing and directing along with Walking West's James Walker (Brake) as producer. Ed Kretz Jr., (AMA Hall of Fame Racer), is on board as a technical consultant. "Why We Ride is a story about the passion of motorcycle riders," Carroll commented. "From a family riding together on the sand dunes, to hundreds of choppers carving through the canyons - the bond with two-wheels is the same - it brings people together in a unique and memorable way and we wanted to share that joy with an audience." Why We Ride began production in July 2012 with filming continuing all over the country for a full year. From the deserts of California to the salt flats of Bonneville, visiting the rallies in the Midwest and beyond to Daytona, Carroll captured photography and interviews of riders and racers from all walks of life and all forms of motorcycling. With a special emphasis on the increasingly popular women, youth, and family groups of the sport, the film works to show how the motorcycle community continues to grow all around us as it's passed down from parents to their children. Why We Ride was shot with Canon's Cinema EOS C500 camera and paired with Codex's Onboard S recorder, which enabled 4K resolution at rates up to 120 fps. The package was compact and lightweight enough to be operated out the door of a speeding van or on the end of a 12 foot jib arm. Carroll concluded, "When you're averaging 30-40 setups per day on a documentary, the mobility and durability of the camera package is paramount." Why We Ride will be released later this fall. About Gnarlynow Entertainment Gnarlynow Entertainment was launched by Producer/ Director Bryan H. Carroll in 2010 as a production platform to develop and produce high-quality films that are informative, positive and entertaining. # # # Media Contact: Christine Purse (chris@ignite.bz) or Gail Laguna (gail@ignite.bz) ignite strategic communications 818.980.3472
  10. Hi. You're making a movie with a 60D (1080p FULL HD at 24p) and you want to blowup it to 35mm. What resolution would you use in FinalCut? Full HD (leaving all the hard and expensive work to the LAB)? 2k (resizing the 1080p FULL HD material to 2k size)? OR 4K (resizing the 1080p FULL HD material to 4k size)? Any additional tip will be much appreciated! MR
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