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Found 71 results

  1. Hi, Im a new member to this site and the world of filmmaking so I would like some experienced individuals teach me what a good first step would be to take
  2. Hi, I am sorry if this questions is pretty vague. you can answer with any all along the lines of technology, character traits, knowledge of the medium, and anything else anyone finds useful and thinks I should know. Thank you
  3. Hi Im about to get a new camera today as a gift, but dont know what to get exactly yet. Can any give me advice and suggestions for digital cameras around $500 and what I should look for in a camera? Thank you
  4. Contenders for the American Society of Cinematographers (ASC) 2018 Student Heritage Awards have been unveiled today by the organization. Designed to inspire the next generation, the awards recognize graduate, undergraduate and documentary cinematography students for their exceptional work. The 13 nominees this year hail from 10 universities nationwide, and winners will be announced October 13. The ASC Student Heritage Awards also celebrate the memory of an exceptional cinematographer and are re-named each year in honor of esteemed ASC members. This year’s Undergraduate Award is named in honor of Gerald Hirschfeld, ASC and the Graduate Award honors Sol Negrin, ASC. The Documentary category is dedicated to Haskell Wexler, ASC. Finalists for this year’s student awards are: ASC Sol Negrin, ASC Student Heritage Award – Graduate Category: • Brody Anderson for Drawn Curtains, Chapman University – Dodge College • Steven Breckon for A Place to Stay, American Film Institute (AFI) • Andres Gallegos for Shoe Shiner, San Francisco State University • Yair Halper for Sauna, American Film Institute (AFI) • Heyjin Jun for Difficult People, University of Southern California (USC) School of Cinematic Arts ASC Gerald Hirschfield, ASC Student Heritage Award – Undergraduate Category: • Jack Craymer for Sonora, Chapman University – Dodge College • Matthew Hayward for The Latent Image, Columbia College Chicago • Grace Marrero for The Girl and the Bird, Florida State University (FSU) College of Motion Picture Arts • Simms Wright for Sodium Vapor Nights, University of North Carolina (UNC) School of the Arts ASC Haskell Wexler Student Documentary Award: • Alejandro Cortes Sanchez for Adrift, School of Visual Arts NYC • Rachel Lattin for Monumental, Chapman University – Dodge College • Minagi Tanaka for She Comes at Night, State University of New York at New Paltz • Xinzhong Zhao for Francis Ford Coppola’s Live Cinema, University of California Los Angeles (UCLA) Negrin was nominated for five Emmy Awards — three for his work on the detective drama Kojak, one for the telefilm The Last Tenant, and one for an episode of the series Baker’s Dozen. His cinematography in television commercials also earned four Clio Awards. Negrin received the ASC Presidents Award in 2010 in recognition of not only his expertise behind the camera, but for being an ambassador of the art and craft of cinematography. In 2007, Hirschfeld was honored with the ASC Presidents Award. His reputation for being a precise, exacting perfectionist led to his first major feature assignment, shooting the Cold War drama Fail-Safe for director Sidney Lumet. He would go on to shoot some 40 feature films, including The Incident, Goodbye Columbus, Cotton Comes to Harlem, Diary of a Mad Housewife, Young Frankenstein, Two Minute Warning, The World’s Greatest Lover, The Bell Jar, Neighbors, My Favorite Year and To Be or Not to Be. Wexler began his career shooting documentaries and remained a passionate documentarian throughout his career. He earned an Academy Award® in 1966 for Who’s Afraid of Virginia Woolf? and a second Oscar® in 1976 for Bound for Glory. He also received nominations for One Flew Over the Cuckoo’s Nest (shared with Bill Butler, ASC), Matewan and Blaze. In 1969, Wexler wrote, directed and shot Medium Cool, which is studied by film students worldwide for its cinéma vérité style. In 1992, he was honored with the ASC Lifetime Achievement Award. Many ASC Student Heritage Award winners have gone on to have successful careers in filmmaking, and several have been invited to be ASC members themselves. For additional information about the ASC, visit www.theasc.com, and follow them on Instagram (@the_asc), or join American Cinematographer on Facebook, Twitter (@AmericanCine), and Instagram (@american_cineamtographer).
  5. Hi all, I'm going to be shooting a short film in the very near future on the Sony FS5. The Camera only comes with a kit lens, so I was wondering whether it was worth sourcing another lens to work with. I know friend's have pretty pricey Canon lenses, but I'm unsure whether these would be better or worse. The film is going to be shot mostly outside on location, shots of buildings and streets etc. If anyone has ideas, let me know. Thanks.
  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. So I wrote a script for a short film. It is not the first one and it won't be the first project I have ever made. But this is my biggest project yet and will be requiring some financing in range of an extremely micro budget - around 2000 dollars. The short film will be about 25-30min long. The title is Helmina - it is a psychological drama film. I am a 17-year old student filmmaker with aprox. 5 years of experience in filmmaking. I have written, produced, directed, shot and edited several short films, some of them winning different awards at several student film festivals in my country. The most recent film I shot as a DOP was awarded at a international film festival. But none of the projects I have worked on had a budget exceeding a few hundred bucks. I have shot lots of indy video productions, covered events and got into photography several years ago. I also love writting and making music (including soundtracks). The script is pretty strong in my opinion and is based on a novel by a well-known Slovene author and phychologist that recently passed away. The film would be shot on aprox. 20 different location, none of them being problematic and probably wouldn't require any permits. Majority of my cast (33 actors and extras) and crew (20 people) consists of talented friends, ex-mentors, student actors/filmakers/musicians and some semi-professionals in the local film scene. Almost everyone supporting the project is an enthusiastic individualwho doesn't request any 'real' payments. Although, I still need to cover the expenses - transportation, props, clothing, make-up, food, gear rentals and some music licenses. As I wrote earlier, 2000 dollars should be enough to cover it all. The film in terms of tech is not such a big project to make. There is only a bit of compositing and CGI planned. I have several options regarding financing the project: 1. I could contact national television, which of course leads an AV-project funding campaign; 2. There are several local institutions that could possibly be interested in supporting my project; 3. Crowdfunding - I heard Indiegogo is good for those kind of things; 4. Sponsorship - I could contact some local companies; 5. Band coverage - I want to use a song in the edit by the most commercially successful rock band in my country. Normally, I would have to buy a music license, but what if I try to get the project supported by this band since the most important scene in the film will be using their famous song? 6. A high school leading a drama department in my city supports those kinds of projects, but since I go to a different school with a music curriculum, I don't know if their authorities would want to support me. I am still looking for main actress-protagonist, which may be schooling there so there is a chance of success with this method; I have prepared several documents regarding the film. That includes the rewritten screenplay in the professional form, storyboard, budgeting documents, location and props/gear notes etc. I wish to start the production by the end of the year and continue it through the next 6 months. I would be very happy and thankful if some of you shared some pieces of advice on how to continue the preproduction for this project I love and really, really want to finish. I need tips and advice on producing this kind of project in my current circumstances. I hope I shared enought information regarding my situation... Thank you :) Martin
  8. Hello Guys, Getting into The Industry I am creative writing student and have a few questions and queries regarding the industry of film and cinema. I do not have the benefits of nepotism, so I am starting from the bottom. I have worked for three years at some top companies in London (Liberties & Claridge's inc). Those experiences have exposed me to the realities of corporate companies, job ladders and management. They have given me the guile and awareness of what happens with the high-status businesses and sharpened my outlook regarding Industries. The paid roles I am looking for (all entry positions) Art Department Assistant Film Administrator Assistant Concept Artist Assistant Storyboard Assistant Junior Producer Assistant Film development Assistant Screenwriting Internship DOP Apprentice / Internship Portfolio / Experience / Relatable Knowledge I am creating a short online portfolio with my screenplays as a prospectus for my work, portfolio for jobs. (6 Months available) Studying a Creative Writing and Media Degree Undergoing a Film Music Score course with Berklee University Online. I study creative writing degree and understand the enterprise of having an innovative presentation/portfolio/C. V/ Compliment letter for getting a job role however what are the additional requirements of my pitch I could do to gain a contract? How would I go on about contacting a company directly to express my interest in working with them? Is this a useful approach? As I am not in the industry as of yet, would I need to get involved in an entertainment recruitment agency or hire a consultant to advise and guide me through the pathways and pitfalls of the Film scene via networking and contacts? I do plan to make a short film and supply it with a printed leaflet which gives a brief snippet of the Cinema I aim to create, my skills, and showcase my relatable talents that could help their companies grow. How should I market this in regards to the job role I am keen? Would I then aim to promote it to as many consortiums as possible? My most pressing question is regarding the ‘other side’. I do not want to work for people that are the creative talents; I want to be the ‘creative content producer’, therefore is there a route in 2017 which would be monetary instead of a freelance Cinematographer, Screenwriter, Videographer? If so what is it? Moreover, what would be the best alternative, that would be an expressive job role which I can create in that pays As I am in England London, the industry is very minimal however it still exists, but I am sure there were many people in my predicament in their early days. If you have any advice on how to ‘break’ into the industry in the associated roles, I mentioned, please provide me with some information as it will go a long way to shaping my future and next career step. Many Thanks Michael okorodudu
  9. Hello there everyone, Well i'm shooting my final short film at 3rd year in film school, the script takes place in a night interior house, my problem is that due to the shooting script in a few shots we see the window. We have to shoot in that hours (daylight) because the film school requires it. I asked one of my teachers and he told me that one easy solution could be to make kind of dark boxes in the windows for putting the lightning equipment and not allowing to pass the sunlight, then put Hampshire Frost filter in the windows for defocus the light and use little lights that seems to come from the street. It seems to be a good idea but do you have any others?, I have time until the shooting day and I want to explore all the posibilities. The shooting will be 10 hours and we have 8 Ronin shots, the camera is the BMCC 4K with one and only Samyang XEEN 20mm, I want an f/4.0 and my gaffer will be prelightning the other two rooms in wich the action happens. Thanx!! -Alex
  10. Hi Everyone, I am a beginner Director of Photography and I'm still learning the camera side to things as a DOP. I'm much stronger on the lighting side than the camera side and need a little advise. I'm shooting a science-fiction story in the near future and I've done some research on lens and how to sell the Sci-fi look, and the thing that keeps popping up is Anamorphic lens. I have little understanding of how Anamorphic lenses work and will be shooting this project on the Sony F3 - From what I've gathered the chip sensor can't do Anamorphic with out a converter lens, but I heard those lessen the quality and aren't the same as the real deal. I've been watching a ton of interviews of cinematographers and they say to go with a wide Anamorphic lens and shoot everything crisp - even my professors say the same. So my question is, what is a great alternative option to a Anamorphic lens for the Sony F3? P.s. The lenses that come with the Camera from the school's rental house is a set of prime lenes (35mm, 50mm, 85mm) and Zeiss CP.2 Lenes (18mm, 25mm, 35mm, 50mm, 85mm). We are allowed to go to other rental houses but the budget is limited to around $1500 (not confirmed yet, but roughly around that). P.s.s. Also - last note - any additional tips on shooting and lighting Science-Fiction would be much appreciated. All the best.
  11. 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?
  12. Hello everybody. This is my first post, i'm used to be more of a reader. I would like to get a little help from you, if you're willing to give your opinion : i have been a student in cinematography for almost four years now, and i'm starting to work on my master thesis. Thing is, i had quite a few ideas, but there is always something wrong : i wanted to work on minimalistic lighting, with the increase in sensitivity these years, but an older student is already on the subject. I wanted to speak of the correlation between being a dp on set and being a dp on post, for Wall E with Roger Deakins for exemple, or Life Of Pie, criticized by Doyle, this kind of problematic. But our master thesis is supposed to help us find someone to hire us, and i'm more of a set guy than a post production one. I wanted to talk about ENR, ou Bleach Bypass, but the subject is too old and so on.. So, if you could help me brainstorm around a good subject, it would be really nice of you. I'm would like to met DoP and 1st Camera Assistant, because i plan to begin as a third ac. I'm more of a core guy, interested in ratio, contrast, motivation for lighting, dynamic, latitude, t stops etc.. The core of our work, like really specific light techniques, from Rousselot (lantern) Khondji (negative lighting), more than virtual reality or these kind of things. I like the 90's movies a lot, and i'm really into analog photography amongst others things, like RAW for Digital etc. I wanted to tell you a little about myself, to help you help me. Thanks a lot guys. Hope that it will be of interest for you. (i'm french by the way, please excuse me for the potential mistakes)
  13. Hi, I'm a photography student and I recently bought a Canon 1014E. I mainly shoot 35mm photos (I can work a film camera easy for stills) but I wanted to get into film making so I decided to start out with Super 8 because I assumed it would be pretty easy because of the role it used to play in home video making. I guess I was wrong! I've read the manual online a ton of times but all its done is confuse the hell out of me. I'm up to speed with the majority of the camera's functions but some of them still baffle me so I would appreciate some help! Being a student I have hardly any money so there's not a lot of room for error. This photo came from a previous post (so please ignore the arrows)!! I have 2 main queries regarding operating the camera and I expect that they'll sound incredibly stupid to someone with experience but I am COMPLETELY new at super 8 so I have no idea - Please forgive me! here is a link to the manual for reference - http://www.manualslib.com/products/Canon-Autozoom-Electronic-1014-3015685.html 1. The film i have is Vision 3 50d but the camera's automatic system does not recognise this. This problem has been answered here: http://www.cinematography.com/index.php?showtopic=61842 however I am not sure about what it means to over exposing by a 3rd of a stop. In more basic terms, how can I shoot on my 50D so that is not over exposed? 2. When I look in the viewfinder and the camera is in full automatic mode there is a meter with an aperture scale at the top., and red at both ends. Is this the light meter (ie when the needle is over to the right it is over exposed, left under exposed etc?)? Or does this simply show me what the auto aperture is for a correct exposure, meaning that even when it is far to the right but not in the red it is still a mid range, correct exposure? I usually shoot with a Canon AE-1 within my photography and its meter is very different, hence why i'm confused. 3. I feel so silly even asking this question (it pains me so hard as a photographer) but in auto mode in cloudy daylight the needle on the meter inside the viewfinder is ALWAYS in the red as far as possible on the right side of the spectrum. How can I change the exposure without making everything too technical? I understand that the switch with the dot, 2 and 4 next to the FPS have something to do with exposure however the manual conveyed this section in a way that was very confusing to me. How do I correct the exposure? If anybody could help i'd be so grateful! I've been waiting to get my hands on this for ages so i'm eager to get shooting ASAP. Thank you so much!
  14. Hello, I'm Student in 3rd year in belgium. I'm working on my "final these". The subject is about dialogue in movement. I would like to know witch is for you the best dialogue scene with movement? For me by exemple, this is the opening scene of Inglourious Bastards: the interrogation around the table. There is a circular traveling and two traveling forward to go from a close up to a very close close up. These movements help to increase tension. Thx!
  15. Hello everyone, I am a fine arts student living in Paris, France and I am about to embark on my second short film journey. I need your help to solidify my idea, to get that punch line that shapes the film so that the rest may unravel. My theme is "Traces". This can usually be taken into so many directions but the one I think would be interesting is body traces. Such as skid marks on your knee as a child playing soccer; to a teenager getting a hickey, to a person battling depression and cutting themselves, to a man nicking himself shaving, to a woman having a red cheek from getting slapped by her abusive husband, etc... I want to try to stay away from cliches though; and I envision it building up to a big ending. A lot of artsy films I've seen that have to timeline and just move are interesting, but at some point you feel like "okay I get it" and you turn it off before its finished. That's not what i want my audience to feel. I want my audience to be compelled to watch till the end. And that's what I'm having trouble with; finding that punch line. If you can lend me your beautiful minds to try to help me achieve this, i would really appreciate it. PS: if you feel you have a better idea related to my theme other than body traces, please share! All your ideas are valuable to the process. Thank you so much! Carole Dana
  16. Hello everyone, I am a fine arts student living in Paris, France and I am about to embark on my second short film journey. I need your help to solidify my idea, to get that punch line that shapes the film so that the rest may unravel. The theme of the movie is TRACES. I've chosen to select a few phobias that are related to the subject, which could make for an interesting plot. Here is what i got: - Ablutophobia (fear of washing or bathing) - Athazagoraphobia (fear of forgetting or being forgotten) - Haphephobia (fear of being touched) - Rhytophobia (fear of getting wrinkles) - Philemophobia (fear of kissing) I would love to hear what you guys think about this. The film cannot be more than 15 minutes. So just choose one and share your plot ideas! Or if you would want to share on more than one thats great too. If you know any other interesting phobias which you think might be relevant please share too. Thank you so much! Carole Dana
  17. Hello all, I'm an aspiring film director/producer, entering UTA next year as a freshman. I constantly hear that you need to be in LA for the film business, or that everyone ends up in LA, and I wanted to know a little more about this. My question is, why? Why do you need to be in LA? I lived there when I was younger, and all that I remember was that the cheapest dirthole was still more expensive than my modest house in Austin. Also, I've had friends tell me how strict LA is on permits, whereas in Austin, I was shooting on the street w/o any permits and a police cab came up and offered to buy us lunch. So...why LA? I ask this question because Austin's film program is offering students internships at select studios in LA (such as Paramount and Lionsgate) as well as in NYC (but I believe that's more for TV). However, is this something worth looking into? To be honest, and I don't know everything about the industry so this is all coming from interviews/workshops, but the films I want to make I could make probably shoot here in Texas. I would be honored to hear what you guys think and what your experience is with this. P.S.: Money is a HUGE factor for me. Edit: added some line spacing.
  18. http://goo.gl/forms/QDEA9BjiVt I need help with a project in university, I am studying Cinematography and need to gather primary research from professionals within the industry, If anybody can help, use the link above please. Thank you.
  19. Good night guys, we're shooting a short film in about a month, and I'm planning to use a BMCC 2.5K. It's a low budget film so we'll be using some LED panels and Rokinon lenses. However, there's a night scene, so I'd like to know if there's any recommended exposure settings that you suggest. I haven't visited the location at night yet, but I know it's not pitch black, and that there are some practicals. Also, we're not looking for a high contrast/ very dramatic look, mostly soft light. The only time I've shot night scenes with the BM I used ISO 800 and played with wide apertures (T/1.5 the widest) and I found it delivered a decent image. However, even after the color grading there was some noticeable noise. Is there something specific that you suggest so I can improve the image quality or is that about the best I can get? Thanks in advance guys. Daniel
  20. Hello all, For a class project we were assigned to make a music video. This is what I made, a fan production of the song "Baby Came Home 2" by The Neighbourhood. I would appreciate any and all feedback! https://www.youtube.com/watch?v=gNdpX2hPpyQ
  21. Dear wisest of cinematographers, In the course of my matura I am required by the state to write a 40k-60k characters long academic writing about a subject of choice in form of a question. The question that I came up with a year ago was: How does the job of a cinematographer in a project using almost only green screen change? (As seen in Gravity or most parts of Avatar) So this in mind I then started researching and writing. In order to finish my writing I am now asking you, the community, for an answer to that question, a conclusion if you will. Cheers, Laurin H.
  22. My first reel, please critique if you can. Thanks. https://vimeo.com/155261636
  23. Hello all. My name is Bheki Ngwenya who is currently in the last and final year of a Film Production and Cinematography degree. At the moment I am doing a dissertation on cinematography. My chosen topic on the vast subject of cinematography was "visual style". With this post I am aiming to use your feedback as part of my research in identifying what visual style is and what it consists of. Looking forward to your replies. Cheers. Bheki Ngwenya.
  24. 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
  25. Hi, I have to light a submarine that goes under attack from a sea creature, I want to want to replicate the intense red lighting similar to Das Boot and Wrath of Khan (I've attached photos to show what I'm talking about). I recently acquired a few 789 Blood Red lee filter gels to replicate the look. but not really sure the best way to go about it. I have access to some 4K HMI's, 2K Arri Fresnel, and 2K Mole Richardson scooped soft lights. I also have a few Arri 650's and 300's for extra fill or spotting. the set is in a studio, roughly 8x16 I'd like to also create a mid range depth of field, I'm using old school Christmas lights on the control panel to give the controls colour, but want them out of focus enough to not be able to tell they are Christmas lights but enough to see the emitting light. If anyone has any tips on this it would be appreciated as well. Thanks so much!
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