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Found 18 results

  1. Hi guys, im new here, and i'd like some advice. I own a Canon 6d + 24-105mm, and i'm going to shoot a music video for a hip hop/trap artist. I've only shot a hardcore punk music video, and it was very fast paced and with several cuts. This time it seems to be different. Upon searching references, such as Post Malone, Travis Scott, etc, most, if not all videos rely heavily on slow motion scenes. Even the song the artist sent me is much calmer and sort of romatic than the others. But since the 6d can't shoot faster than 30fps at 1080p (if can with magic lantern, but the tests i made didn't turn up so good), i'm looking for alteranatives, and i strongly believe that the lack of resources boosts creativity and this might just allow me to create something different (I'm thinking different cuts, camera movements, etc) For instance, the artist want a scene with a woman in a white wolf mask at the beach at nightfall, kind of abstract, symbolic. And unfortunetely i can only thing of this in slow motion, but i'm sure it's just that i can find the right inspiration. I've been searching for movie scenes and music videos that could inspire me to have more ideas, and honestly i feel like slow motion is overrated and overused these days in music videos, so i'd like to move away from that but still keep this sort of poetic, emotional, abstract feel. Could you guys share some videos, scenes, thoughts, techniques and ideas that could work in a more symbolic and meatphorical scenario? I'll keep reading the forum and searching for more inspiration, but on google it's hard to find anything that DOESN'T involve slow motion when i search this subject. Thanks in advance! Cassiano.
  2. I'm shooting a short narrative that involves several scenes of two people talking at interior doorways. I've attached photos below to give you a sense of the framing as well as photos of our actual location. Our lighting package includes a couple aladdin LEDs, a leko and a skypanel s-60. My plan is to use the aladdin's to key the man from camera left and possibly tape a bounce to the door to get a little return on his fill side. I'm unsure if that plan will work due to the tight space and won't be able to scout this location in person until the day before our shoot next week. Do you guys have any advice/better ideas on how to light these characters in the doorway? Concerns: We will be cutting on the action of opening the door so hanging something overhead in the doorframe doesn't seem possible since we will have to capture the action of the door opening. That is why I'm thinking keying from the side might be better. Limited on space (see photos below). I'm worried about sneaking lights too close and making it feel too sourcey. Any advice would be much appreciated, thank you!
  3. 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?
  4. Hello all - I'm completely new to these forums, and already excited to start delving deep into all the information here. Just wanted to share a trailer for my feature, DON'T. STOP. RUNNING. which, as is often the way with microbudget indies - I wrote, directed AND shot... Never again...! I used a BMPCC and a range of M43, C Mount, M42 and Arri B-mount secondhand and new lenses, and was amazed to see the quality we could get from that little camera. We shot, for the most part, outside in a British summer (occasional bits of sunshine interspersed with long periods of slate grey skies) with just a sun direction app, a couple of reflectors and an Artem smoke gun. I'd love to know what people think of the trailer - a bit of feedback and critique is the best way of learning! Thanks, Alex.
  5. **Questions marked in bold** **Attachment was too dark and compressed, a better one with the correct contrast can be found here: https://drive.google.com/open?id=16205F-smKu5lcB0M3lOmPKfVdkCIG_yp** Dear all, I am currently working on a short project with an extremely tight budget and minimal crew. About half of it will be taking place at nighttime (roughly 15 extremely still wides and a couple of close-ups with some tilting/panning involved). Due to the limited resources available, I started considering a day4night approach pretty early on. I bought a variety of filters and gradient ND's of sorts, experimenting with different combinations in order to try and manipulate the ambient light sources in-camera (I understand this approach would normally be impractical, but due to the extreme stillness of all the locked-off wides, I assumed it might work out as long as the character did not cross such sources). The results haven't honestly been that bad, but not mind-blowing either. I attached a frame to this post, shot at T2.8, 1/50 shutter with a Tiffen Cool D4N (used for its LowCon properties, as the film will be achromatic) and two .6 gradient ND's stacked on top of each other. Now it's evident that if perfected, such technique could ideally bring me the result I'm looking for, but at the same time necessitates some improvements & has some evident limitations. Such limitations would include: subject and light source always having to be placed as antipodes & subject being unable to move within frame unrestrictedly. It's basically like shooting split-screen for those movies in which the same actor plays two different roles (I'm assuming Adaptation was shot like that, potentially even The Social Network). I attached a picture in which such technique is used down below, illustrating exactly what I mean. My question is: do you guys think this is going anywhere? How would you approach a nighttime scene with no gaffers and only you on set as a DP/Operator? Finally, one last detail I should mention is that originally, an infrared implementation to the technique described above was also considered. This is mainly because of the fact that we were going to shoot the thing in August, with potentially clear skies. The idea was to turn those clear skies black using infrared filters, adding an extra touch of nighttime to the whole thing. For this purpose, I non-permanently converted my RED to full spectrum (so going back to the original OLPF is always an option). However, the camera is still not with me at the moment and I won't be able to run tests with it until mid-January. Preventively, do you guys think that shooting infrared will achieve the effect I'm looking for? Or would you say that simply implementing the technique with a gradient red filter would achieve the same, black-sky effect? Thank you all in advance for the time you took to read this, it's extremely appreciated. Best, Filippo
  6. Hey everyone, I'm a film student working on a project that requires me to shoot a model miniature. The problem is, the model is inside a protective glass case. It's only about an inch thick, but I can't remove it. Any tips for lighting the model through the glass? The model is fairly large (6 ft x 6 ft) so I was thinking of using a soft fill on the opposite side than I am shooting to reduce glare but that's kind of restrictive to the shots I can get. Not sure if anyone has done anything like this before but I thought I'd ask. Thanks! Zach
  7. Does anybody know where I can find a list of micro-budget (under $100K US) feature films that are streaming somewhere online? Preferably recent films--last five years, if I can find them. I'm producing and directing a film along those lines and want to research the competition, but can't figure out how to find these movies. Everything I've tried Googling just yields a list of breakout indies or classic zero-budget indies I've already seen. Where are the sorta-good, sorta-shitty movies that don't suck but didn't necessarily break out? Thanks!!
  8. I did my first attempt at directing a music video for an english songwriter in France. https://m.youtube.com/watch?v=vL-DjKGCmEY I shot with a Canon 600D in the forest and mostly shot everything at 50fps to do some slow motion since I thought it would go right with the song. Also played the song at a high speed so that in postproduction the singer would be singing at the right tempo but with everything else in slow motion. Besides the shots from the story, I made my guy sing in a close up, in a mid shot from below, and also filmed the guitar in a close up
  9. 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 like this? Any help or input would be appreciated. This would be in addition to any equipment rentals.
  10. I just read an article (http://nofilmschool.com/2016/02/cameras-used-sundance-2016-filmmakers-why) about the cameras used by DOP for the films at Sundance 2016, I notice there’re a bunch of film shot entirely or partially with BlackMagic, and cameras such as 7D, 5D Mark3 and C100. I see there’s no Sony a7 series cameras being used. What do you think you guys about the new Sony a6300 expected for march 2016? could it live up to be a camera for low budget film, with external record? being the internal sampling 4:2:0? what could the market be for it? or why would people prefer something like Black Magic and 5D Mark 3? Someone out here who shoots with the Sony a7 series and prefer it over something like BlackMagic? I’d love to hear any personal experience :) it’d be cool to open a discussion over these cameras
  11. I'm shooting a music video. The shot is a a low angle slow tracking shot in a pie-wedge sort of shape around Satan sitting on his motorcycle as he puts out the cigarette on a horn. I wanted to have a curtain, set behind Satan, I think of some translucent material, in the bokeh, filling the frame, with a orange or red source shining through the curtain. Imagining moving the curtain to create an effect of an impression of a hellish background. Any ideas ? I'm thinking of placing the lights on the ground illuminating the curtain that way...any thoughts? Shot lasts about 4 seconds.
  12. Hello all, this is my first post here and I really need some advice on how to go about that! I have a project coming up which involves interior and exterior shots. My main concern is lighting the outdoors night scenes. The scene involves two actors having a dialogue while they go about dumping a body in a car. This takes place at night. Mood: Dark as possible - its is a murder after all, mysterious. The only source of light is kind of a Sodium Light high up on the wall next to them which is pretty strong if they stand on its range. (and some other lights in the distant background which only offer some perspective) eventually they will sit next to each other (some other shots involve them standing almost under the sodium light talking - but these ones are the widest ones and obviously the biggest worry for me since I need to light from further away) My initial thought is to keep it as simple as possible and try to utilise what I have as much as possible. I can always try to match the sodium light for the interior shoots as it supposedly shinning through the window-> using half orange and +green or even a dedicated gel. But now I am left with trying to light up their faces and at the same time trying to make them look natural, I can budget some diva kinoflos and pretend that there are some other street lamps around of a different color temperature(or even match it), but I am worried it might not look as natural as i want and that it might sort of spill all over the place and destroy the mood. The camera is an Arri Alexa with a kit of prime lenses. This is working in my favour so I cant complaint I just need to sort out my lighting kit list soon and these scenes do trouble me since its the first time I am lighting an outdoor night scene. Much appreciated in advance any advice is welcome! thanks!
  13. So I'm shooting a short film and it mostly takes place at night on the road inside a car, and I have a very low budget, it's supposed to look like a kind of b horror/grindhouse movie. My inspiration of the lighting is Deathproof by QT, here's a picture and basically I'm looking to light my scene exactly like that, my question is, how can i achieve this cheaply? which lights do you recommend and how do i place them? Thanks
  14. Hi, I'm making a short film next year, and one of the scenes features two people walking the streets of a city, much like this ( see video below ) i was wondering if anyone could tell me what is the best way to light the actors to get that city night feel? or do i need any other lights at all, will the ambient light of the city do? keeping in mind my rig will consist of a glide cam, and a Canon c100 mk 2. so not much room for big lighting rigs moving with the camera, also its quite low budget film. any thoughts? Thanks Gabe
  15. Hi Guys, Pls Check out my new music video. Shot on Canon 5D Mark III, Zeiss lenses, With a very low budget ($ 800) so i Graded myself with DaVinci Resolve Lite.
  16. Last friday I made a new thread in the lightning section to ask for tips an advice on how to shoot a film noir. (http://www.cinematography.com/index.php?showtopic=63816) I'll first explain something about the project. I participated in a dutch 48-hour competition this weekend as a cinematographer. 48 Hour is a competition held regularly in The Netherlands in which numeral film-teams compete against each other by creating a short movie from concept to completion in just one weekend. During the kick-off of the event every team get's randomly assigned to a genre. We got Film Noir. I was really excited that we got this genre, because I could do so much with the lighting! All the participating teams get a different genre, but they all have to incorporate the following things into their movie: Prop : a red dress. Character: Julia or Jules Mendez Line of text: "Do you always use the same side?" Unfortunately our edit pc crashed during rendering, causing us to be disqualified for entrance because we didn't make the deadline by 10 minutes.. (I still can't believe it, it sucks so bad.) But nevertheless I am really happy with my results, since this was my first time as a d.o.p. in a crew larger than 3 persons. Man this was a challenge to shoot in so little time. I think I slept a total of 8 hours during the whole weekend, but it was definitely worth it! I am really interested what you think about the movie and I would love to hear feedback from you all to improve my skills in future productions! I was responsible for placing the lights, choosing the angles and movements, operating the camera and doing the colorgrade in the end. So every advice regarding to these aspects is welcome! The film can be watched here: www.vimeo.com/twanpeeters/thedarkestdance (pass: thedarkestdance) How the scene was set up: I lit the scenes using 3x 350w Laniro redheads, two dimmers and a small dslr led panel. We didn't have the time to find blinds, so instead we carved out a blind pattern in cardboard. Harsh keylight coming from behind the blinds, fill coming from the practical and the wall. I wanted to place the back-light more behind her, but then the light would get in the shot unfortunately. I am not completely satisfied with the colorgrade yet, so I will make a better version soon. I was under so much pressure from the deadline that I had to do the whole color grade in 30 minutes. I think in some of the shots the shadows are too crushed and in others the highlights should be more or less bright. The ending shot is made on a bridge, a smoke machine, a car and one redhead. I wetted down the wooden bridge to make it a bit more shiny. Doesn't look so bad in color either! Since we had to incorporate a red dress into a film noir, I thought it would look really cool if I would remove all of the color, except for this bright red dress. We shot it infront of a black bed sheet, with two red-heads lighting our dancer from behind (one from above on the right and one from a lower angle on the left. I wanted to keep the dancer mysterious and not recognizable. As you can see on the original shot on the bottom I had a lot of noise issues with these shots. I was shooting on ISO 1600 since increasing the light intensity would take away the shadows that I wanted. (I need to get a better camera!)
  17. Hi I'm just on my way out of uni so pretty new to cinematography and am shooting a night time scene between two people lit by candle light. I will be shooting on a canon DSLR and only really have a few simple dedo lights available to light the scene. Anyone got any advice on how to get enough light that I wont have to crank the ISO too high? Cheers.
  18. Im shooting a short film this weekend and the director wants a shot of a man shovelling dirt off the "lens" to reveal the himself standing over a hole in the ground in the forest. a Very classic Breaking Bad shot. Would love any advice as to how I should accomplish this... I've rented a Wide angle low angle Prism for the shot and I'm planning on buying a big sheet of plexi glass to put over the camera and cover with dirt. Any ideas (besides digging a massive hole in the ground) Thanks, Cole
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