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Found 13 results

  1. To me the online footage i see from various DJI's looks amazingly good, so i wonder are they used for big feature films or you NEED an Octacopter with Alexa/Red/Whatever with big sensor thing... :) (production won't permit using "toys" for their movie)
  2. I want to dive more into narrative books again. I've always been a very audiovisual person, when it comes to perceiving and consuming storys. So I'd like to come back to the written storys, after heaving read so many non-fictional books about lighting, photography and cinematography. Can you give me some recommendations? I know it's rather subjective. But I thought, I'd meet some like-minded people, since we are all filmmakers and visual storytellers. Maybe I can give you a little help with my favourite films and directors, that I enjoy watching: - Kitano, Fincher, Tarantino, Dan
  3. 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 mo
  4. 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 actua
  5. I couldn't find any specific post about this. In May I will be gaffing a feature with about 12 shooting days with a budget around $30,000. I've worked for this director before on a bigger budget feature, but only as an AC. He always pays on time. I'll be working on the film no matter the rate, because principal photography isn't that long, because I want to continue to work with him, and his features keep getting more and more budget (John Debney just scored his last feature, the one I worked on). But he's just doing this one for fun. What would I charge for my day rate as gaffer with a budget
  6. Just completed post on my first feature, "The Eastsider" (www.theeastsidermovie.com), a comedy/drama set in suburban Detroit. Shot it on Kodak 7222 with the Arri SR3, an amazing camera. Nothing will ever beat the look of celluloid. Here is the trailer (contains coarse language): I'm putting this thread in the "in production" section, since I don't even have a festival premiere date yet (not sure if this thread belongs elsewhere).
  7. Hey! We're looking for a DP based in London UK to work on a micro budget road movie (Set in the US) that will be shot on Andromeda DVX100, with Elite Letus 35mm adaptor. If the budget allows then we will be shooting on Aaton XTR, S16mm film, or combination of both. Synopsis and more info here: Awaken The Giant Within At the moment we're looking for the right DP and we want to, soon, start shooting some tests. You must have experience on micro/low budget productions and be based in London, UK. If you are interested please send an email with the following details: Cv, camera/tech ski
  8. Hi Everyone - I'm putting together a package for a very low budget feature. The production budget is $60k and I want to send production a reasonable camera and G&E package breakdown. Does anyone have a percentage that they think is a reasonable amount to allocate to equipment rental? I don't want to send something that the line-producer will scoff at. Thanks!
  9. Edit: Sorry about the repost, the title got mixed up and I don't know how to delete posts. wonderful first impression : ) Edit 2: Ah, duck. The title is still 10-20.000 . It should have been 10-20.000€ vintage PL set for feature film. FIRSTLY Sorry about the title, I am horrible at this. FOREWORD Hello. This is my first posting in this forum and I don’t think it will be my last : ). I’m still young and there are lots of things that I don’t know about cinematography. So if I’m wrong somewhere, please correct me and feel free to tell me your thoughts. I have studied c
  10. Greetings, I am DPing my first feature film, it starts production in about a week. I am looking for advice or tips from DPs that have shot a feature before. This is a dialogue heavy film with lots of conflict between main characters. I am looking for any kind of advice on shooting dialogue scenes, communicating with your crew on set to be more efficient, clues on making sure you have coverage or just anything you wish you would have know going into your first feature. I know it's broad, but if you have something I would love to hear it. Story Summary As protagonist, Anna, cleans o
  11. Hello everyone, We are planning to shoot a very low budget feature film this summer and I have some questions on the camera set we will use and I hope you can help me on some of the following: 1. The 16:9 sensor on the GH2 + a 2x anamorphic adapter produces a final stretched anamorphic aspect of 3.55. Which would result in (1920x1080)*(2)= 3840x1080. Instead of doing the decompression from 2x, I want to interpret the shot as if pixels would be 1.333 or 1.4587. I know it keeps the image still a little deform but I think I like the look. Whats your technical and/or creative take on it?
  12. http://about.me/adamlcohen *click on the vimeo or youtube links at the bottom of the page to view my reel. Thank you for your time! Adam Cohen
  13. https://vimeo.com/56763193 This was one of several scenes we shot for a comedy feature film where I was brought on as the Cinematographer. Unfortunately we weren’t able to finish the project, but I got the chance to work with a great AD in the process and meet a few good friends whom I still work with today. BOUNCE- Chicken Spot Scene ASSISTANT DIRECTOR- Edmar Flores DIRECTOR OF PHOTOGRAPHY- Kahleem Poole-Tejada 1st AC- Robert Billings
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