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Found 14 results

  1. Minimal Camera gear for independent productions Not long ago I wrapped an independent feature that was shot in Morocco with a DoP I had already worked for on two more movies. From the very first contact with the production company, it was quite clear that it was a low budget movie, therefore it was mandatory to squeeze the most out of every single euro in order to make the shooting possible according to the schedule, without the need to do extra hours and such. As usual, I advised the director of photography on the gear list, try to get everything I considered necessary and making a separate list of devices and accessories that could be considered dispensable, hoping that finally the production company would come to an agreement with the rental house. Since the prep time had been very short, there was a lot of information about the shooting I wasn’t aware of, and now that I came back I would like to share what I’ve learn from this experience. Speaking about gear and accessories, I realized that there are some of them that are wrongly considered “fancy”, while it’s precisely in low budget productions when they become more handy and/or essential. Here you have my top 3... More info here Camaleon Cinema Services S.L - Fabio Giolitti.
  2. Hello all filmmakers in the South Puget Sound area. I wanted to let you know about the Olympia Film Collective. We are a group of independent filmmakers that meet once a month (on the second Sunday) to help each other out with our various projects. The website is olyfilm.com and we love to meet hard working, creative people that want to make excellent independent cinema!
  3. Hello all, I am doing cinematography for a friend's film, and I was contacted by a local camera operator who was interested in working on our set. Coming from sets with a minimal crew, I'm used to operating a camera by myself when doing cinematography, so this is going to be a first time thing for me. As I'm new to this process, I wonder -- how does the relationship between a DP and a camera op go? I understand DP's will sometimes take the camera to get the shot they want, and therefore trade off with the camera op on-set, but my question is directed more towards pre-production meetings and such. For instance, are there any meetings that are meant to take place between a DP and his operator prior to arriving on-set? And if so, what exactly gets talked over? As a side note, I have yet to meet this local camera op in person. Thanks, John
  4. "As Day Turns to Night" was made for my production class. The film is my analysis of the psychological effects of loss and what it can drive a person to believe. Any criticism is welcomed and very much appreciated! https://www.youtube.com/watch?v=ad6QHJAYgLw
  5. Hello all, While I was composing music for my short film, I came across an interesting song that I eventually covered with an acoustic guitar. I was so amazed by how great my cover sounds and fits into my film, that I would like to keep it; however, the original song is copyrighted... So my question is, could I implement my cover to the score of the film? A few things to note: -I will be submitting this film to various film festivals -I did not sing any of the original lyrics (nor any lyrics at all, for that matter), I simply strung a guitar to the same tune as the song -If this helps any, the song I covered was "El Condor Pasa" by Simon & Garfunkel Thanks guys, John
  6. I've became really passionate with Cinema in the past 3 years, and before that I was already passionate about photography, for about 6/7 years now. And so I've decided that I'd like to experiment on this journey of filmmaking since it's something I quite enjoy doing and am currently studying. There's a lot of independet DSLR filmmakers now which is amazing. And so I've decided to buy a new camera! From my previous experience with photography, I'm more of a Canon fan since I first started with the classic Canon AE-1. I don't really have a big budget, but I'd like to invest in something that has quality and is worth the price, and that will be able to last me a couple of years until something greater comes along or I am able to afford a better one. Since I am between photography and filmmaking, I was looking for a camera with both. Or would it be better to just invest in a filmmaking camera? (I own a Canon 1000D for photography, but it doesn't capture video.) And if I do go for a DSLR with both photography and video, I thought about Canon 70D, since I can't afford a Canon 5D and I think it might be a little out of my league yet. So please, I'd appreciate some opinions if possible! :)
  7. Hi! We are looking for a Camblock operator who loves adventure and cinematography for a documentary we will be shooting in Baja (California) in a few weeks. We will be down there for a couple of weeks and its a paid gig. We're based in LA. Please contact georgina@usc.edu if interested. Best, Georgina
  8. Hello everyone! This is my first time posting to the forum. I use the site for reference all of the time, but never became a member until now. I'm hoping to gain insight as to the best way to execute the music licensing process as a 26 year old independent filmmaker. The project is funded entirely out of pocket, so as terrifying as it seems, I plan to try and tackle the endeavor on my own. I know that a copyright attorney or clearance company could greatly expedite this, but again I'm trying to keep my costs as low as possible, because I know licensing the music itself won't be cheap. Here is some background information: The song I intend to use is a cover of a popular song from the 1960s. The band that covered the song was a group no one has ever heard of. It was recorded by a company that no longer exists (A1 records [a division of Trans Canada]). The company was sold, sold again, renamed several times and I guess now is a relic of the past somewhere in a basement filing cabinet. I traced the company from the 60s to a large Canadian conglomerate (Quebecor Media) whose subsidiaries control a good portion of the media and entertainment industry in Canada. The company I believe who owns the rights is called Distribution Select. Even if they don't own the rights, hopefully they will be able to point me in the direction of the person who does. I digress. From what I have learned from reading about the subject I have gathered the following: - I need both synchronization rights and master use rights >synchronization to use said music in tandem with my visual imagery >master use to be able to use the specific recording of the song in general - I need to obtain rights for the physical recording of the song, as well as the intellectual property rights. These are usually separate from each other. >contact person who owns the recording (artist or label) >contact intellectual property owners (publisher/songwriter/entity/entities) All of this is still a tad confusing to me, so if I am wrong on any of this, please correct me. Because my song is a cover, which by the way is recorded in a foreign language (French), what rights do I need and from whom? I assume it would be something along these lines… I would need to get both the synchronization rights and the master use rights. Synchronization, I would get from the Canadian company that I hope still has records that they in fact own the song. For the sync rights I would also need to contact the publisher/representative to the party that owns the intellectual property rights to the original song that is being covered. So contact the owner of the recording of the cover, then the covered song's original composer? Who then would I contact for the Master Use rights? Would I need to contact multiple sources, as I did to acquire the sync rights? Sorry, I know this is getting lengthy, but I'm almost done. Lastly, which party do I contact in order to obtain a film festival license, which if I remember correctly has a two year cap? Also I would be interested in looking into some kind of limited use license (for internet and possible small scale future distribution)? Are these licenses' processes ones which involve obtaining rights from multiple parties as well? I know the basic formula is the more exposure the film gets, the more royalties you have to pay out. I also read it is pretty imperative to negotiate all prices for all licenses needed upfront if possible. This is why I am asking so many questions. I'm merely trying to cover my bases and proceed in a correct and educated manner. I apologize if reading all of this made your brain hurt. Thank you (:
  9. Link: http://www.indiegogo.com/projects/deep-sleep-short-film/x/268202 Deep Sleep is a short film about a self-loathing teen, Derek Harper, who's sick of his severe idiopathic hypersomnia (sleep addiction). He lives in a generic apartment, and works at a late-night cafe for free coffee to keep his life somewhat moving. His one and only friend Hay Tyler, helps him find the answers to his condition. You're important because you guys are the most vital part of the film. You determine whether this film will be good or bad. Your funding determines how much creative freedom we have, and how close we can tell this story to its envisioning. You are even more important because you're the key to the film's success. Not only will you help me make a beautiful film, you will get me further to my dream. Why Is It Important To Me? 'Deep Sleep' is an important project to me not only because its the most biggest challenging project I've tackled so far, but because it can be a film that can allow me to prove my talent and potential as a filmmaker. When I went and saw 'Inception', I had no idea what it was about really, and went into the theater unexpected. As the film finished, and I walked out of the theater, a feeling came over me that inspires me everyday. I was completely blown away. I want to create that same feeling in everyone of my films. Thanks for taking the time to read this, it is deeply appreciated. Please take a second or so and spread the word around about this project. It needs it! Thanks again, Will Jacobs Actor, Director, Writer, and Producer of 'Deep Sleep'
  10. My goal is to be a master at visual storytelling. I'm captivated by light and shadow, by using moving images to share an idea. I'm a novice filmmaker and have a long way to go before I'm an expert at any aspect of filmmaking -- but the passion and commitment to learn are ever present. What avenues of education and experience do you believe lead to a greater understanding of visual storytelling through film? What are your most powerful memories or impressions of making a film? How have those moments shaped or guided you as a filmmaker? Thank you in advance for what you have to share. I'm excited to learn and grow! Holly
  11. Please check out our horror movie "Stranded". Filmed for fun on a shoe-string budget. We really want to improve our craft and make better films in the future, so we'd really appreciate your feedback, especially regarding camerawork, composition, and cinematography. If you enjoyed the film, please check our facebook page: https://www.facebook.com/glasspixelstudios Thanks!
  12. Ok, somebody needs talk to me about this. An open source 4k cinema camera. I believe they'll be releasing the plans this summer, and perhaps selling prototypes. http://axiom.apertus.org/index.php?site=alpha I've been wondering when the open source hardware movement would find its way to the camera world. I'd be amazed if this project didn't flop (the beta version they want to sell via kickstarter seems more like an interesting paperweight than a working camera), but man, I would love to beta test. Perhaps someone else will pick up where this group leaves off. So. The topic is, will you someday be building your production camera out of off the shelf parts, like a PC? My position: it will be possible, but it'll be more of a hobbyist pursuit, and the heir to Epic, Alexa, etc will have features the home builders still can't touch. Perhaps there will be a few models developed (like Redhat Linux) that are more widely adopted in professional applications. The first professional cinematographers had to build their own cameras, y'know...
  13. Here is my newest short film, ’i love you & goodbye’. Photos in motion, consisting of 4,733 pictures. A relationship between a young couple, from the first I love you to the dreadful goodbye. Let me know what you think! http://www.youtube.com/watch?v=pSqZZrmJcXQ&list=UUsTYaGYnM3BUWm49AEdmAjA Subscribe to my YouTube Channel !! http://www.youtube.com/erichasaids
  14. Looking for some advise - I am a producer creating a budget for a feature narrative but with ten minutes of 16mm or 35mm film and I just have no where to start in creating this category. In addition, I need some solid advice on who to go to in Chicago or surrounding areas who is talented with editing. Help? Thank You!
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