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Found 49 results

  1. Hi Guys, How they made this effect, should be a spot light but as it has so much power and the line is quite clear. Can you help me ? Thanks
  2. Hi! I'm from Russia and my English is not that great, so if you see any mistakes, just let it go) Lil bit about the work. I really wanted to shoot a music clip, because I love watching them and it's a cool spot to start developoing cinematography skills. We had no budget and because of that I decided to make a street video. So I just rented a GH5s and a 12-60 mm lens for it and that's it. Of course I had an idea! 1) to make the color contract between bright blue and yellow and make these colors the main colors for the work. 2) to shoot the video against the background of post-war Soviet architecture as a way to emphasize the lyrics. (The song is about achievements that are usually based on pain and post-war architecture is a great example of it) Obviously, I was inspired by Dexter Navy's works and it's not a good thing, because my main reference was in the same creative field as I am! Also, I'm a newbie and it's literally my first experience. So I decided to take a piece that I could swallow. It was the reason why I decided to make the video without plot, because it would bring a new level of difficulty for which I was too greeny. I mean for me it's better to take a challenge that it's difficult enough that you would grow and learn, but not that difficult that it would crush you. And you know, I've learned alot! I did mistakes in shooting and editing, that I will never do anymore and I've learned something about my self, so overall It was a great experience! I will glad to hear any feedback from you. What you like or don't. What I could do better or just give me your thoughts about it! Aslo you can check the project for this work on behance))
  3. Hello Cinematography lovers! I hope you're all well! I recently shot a music promo using all natural and golden hour light! Filmed on location in the UK, where normally it's not like this! Hope you enjoy & thanks for watching!
  4. Selling a RED SCARLET MX Package. This kit includes everything you would need to get shooting with the RED! Serious Inquiries only Asking 9,500 USD! email me at jeanlucoicle@gmail.com Kit includes: RED SCARLET MX Brain (EF Mount) DSMC RED Touch 5" LCD 4 x Redvolt battery 2 x Redvolt charger 2 x 64gb Redmag DSMC Side Handle RED DSMC Bolt Kit Smallrig Top Plate Smallrig Cheeseplate Wooden Camera Riser Smallrig 15mm Rod Adapter 2 x Smallrig Carbon Fiber 15mm rods Smallrig Top Handle (rubber grip) Olympus Stereo Mic Anton Bauer Gold Mount Battery Plate RED LCD/EVF CABLE (RIGHT-TO-RIGHT) 12inch RED LCD/EVF CABLE (RIGHT-TO-RIGHT) 18inch Wooden Camera A-Box AC Adapter Pelican Case Located in Montreal. Would ship to US and Canada.
  5. Great Condition and recently serviced by Teradek INCLUDES: Teradek Bolt Pro 300 3G-SDI/HDMI Video Transmitter/Receiver Set (2x) 2-Pin Lemo to PowerTap 18 Watt AC Adapter 6' Cable (2-pin Lemo) Asking $2,000 Located in Los Angeles Contact me at Leo@PhotekFilms.com
  6. Hi everyone... I sell my Switronix Recon Wireless Ultra. Please check description and photos. Ask 1750.00USD Perfect condition. Life new! Please contact me at: info@funecycle.com Pierre Description: The Core SWX Recon Wireless ULTRA with V-Mount is a transmitter and receiver set that wirelessly transfers HD video, along with embedded sound, just over 160 feet from the camera to a field monitor. The data is transferred uncompressed and with a latency of less than a millisecond, allowing for real-time, high-quality monitoring. Whatever is being shot can be viewed as it is being captured. The transmitted data is encrypted for safety. Power is supplied by either a V-Mount battery or DC input via a 4-pin XLR connector. If you have both a battery and a power supply connected, a backup power failure function will switch to the battery if the power supply is accidentally disconnected. The batteries and power supply are not included. Adding further reliability, a 5.1 to 5.9 GHz frequency rate automatically adjusts frequencies in case of interference with another RF system, and an external antenna further supports a stable connection. The Recon Ultra is equipped with HDMI and HD-SDI inputs and outputs, and provides a built-in HDMI to HD-SDI converter. The quality of data supported is fully uncompressed 1080 true cinema video with embedded sound. Also, the Recon automatically detects and supports both PAL and NTSC.
  7. Shooting on Cannon 7D, 24 fps, 50th shutter speed. The scene is the subject lit only by a pulsating strobe light. What is the easiest/ most affordable solution to sync the strobe with camera and avoid flicker, banding etc.? If possible, I'd like to have various speeds of the strobe for dramatic build. Any recommendation on brand/type of strobe? Will be using house power. Shoot is in Los Angeles. Thanks!
  8. Hey everyone! I would love to hear your feedback on my latest film. This was a translation of my time spent in Baltimore and Washington during the trump election. I wanted to show the viewer what it felt like as I was waling through the streets during this incredibly tense time in Americas history. http://www.freshfinishmedia.com/canadian-filmmaker-washington-election/
  9. Hi there, I'm asking myself some questions about compression in the sony a7s II's various recording formats and maybe some of you know the answer. I tried to calculate the mean (file) size of a pixel in the different formats to compare the amount of compression: 4k 30p 100Mbps : 3.33 Mb per image = 0.40 bit per pixel (on average, obviously) 24p 100Mbps : 4.17 Mb per image = 0.50 bit per pixel HD 24p 50Mbps : 2.08 Mb per image = 1.00 bit per pixel 30p 50Mbps : 1.67 Mb per image = 0.80 bit per pixel 60p 50Mbps : 0.83 Mb per image = 0.40 bit per pixel 120p 100Mbps : 0.83 Mb per image = 0.40 bit per pixel Is 4K 24p actually 80Mbps to have the same image quality as 4K 30p, or is it true 100Mbps an thus produce a less compressed image ? Same question for 24 and 30p 50Mbps HD. If 24p 50Mbps HD is actually 50Mbps, it means it's the format with the least compression with over 1bit per pixel on average. If the limiting factor of the camera is a data stream of 100Mbps max, why are there no HD 24/30/60p 100Mbps modes for better IQ ? Is it to keep consistency over compression levels across the various framerates even if it means sub optimal IQ ? But then the 4K 24p should be 80Mbps to fit the 30p compression ? 100Mps for all the different res/framerate combinations would allow the 60p to be better quality than the 120p, as it should, and also allow an even lower compression 24p mode (with over 2 bits per pixel) This would come in handy for specific shots where you'd want low compression over high resolution. Or am I just talking nonsense ? Cheers.
  10. So I am heavy into interviews and music videos and but I just finished up my short film. I am wondering what type of work people look for on a reel that pleases there eye. Do you guys have any examples or your reel you could share with me? I'll been making my self busy trying different kinds of video work to get better looking stuff.
  11. Hi everyone! So i recently won a video competition and i have entered another one and have been shortlisted. Unfortunately this one is based on popular vote (so if you have a spare 2 mins you can vote for me here http://videocontest.brosway.com/en/content/like/add/call/92269/1555?em= ) Though competition money can be very good, do you think they are worth entering or do you think really work will always prevail over online video contests?
  12. How did they do the various levitation shots here? starting at 2:14 and then there's many different shots that continue throughout the video. In normal levitation photography, you have them propped up and posing on something like a stool/chair and you compoosite it out. This is much easier with a still photo. In this video though, the subject and camera are both moving. My assumption is some places they use the same concept of propping him up on something and then doing a hell of alot of post work to edit out the stool? Rotoscoping and what not. In other wide shots I'm thinking maybe they have a condor/crane with a wire harness that's holding him up and is edited out later? Are there other methods to achieving this that I'm not aware of?
  13. Who can tell me about the lighting of this music video? Speceficly what did they use to get that soft white look? It seems like they used a decent amount of haze. Anyone have any info they can share? Thanks! https://www.youtube.com/watch?v=NUC2EQvdzmY
  14. Hey guys, I just installed DaVinci Resolve 12 (Lite Version) on my laptop, and I've noticed something when importing clips - on playback in the Edit and Color tabs, the clips have a flickering strobe of different colors. Is this something to do with my graphics? And if so, is there anything I can change to get rid of this issue? Here are my basic specs: HP Envy Laptop CPU: intel Core i5 Platform: Windows 10 Graphics: Intel HD Graphics 520 RAM: 12GB Thanks a lot!
  15. https://vimeo.com/171603110 Thank you!
  16. Hello, wanted to know how can you extract the exif data from a video file (like MOV/MP4) the aperture and shutter and ISO data? Kind Regards, Nitai Lev-Oren
  17. Weigh in on how to achieve flawless slo mo
  18. It's a long shot, but i figure I would start one for Cleveland. Anybody from the Cleveland or Ohio area?
  19. What does everybody use to sync audio and video in Premiere Pro? I've been using Pluraleyes from Red Giant to sync footage for years now. Pluraleyes has never given me any issues...until now. A month ago we shot a wedding and everything was normal as always. But whenever I would use the software to line up the footage this happened (this is not my video): The exact same thing happens to me. We then shot another wedding two weeks later, and I wanted to see if Pluraleyes would line that footage up. Guess what...I lined up everything perfectly, just as it always has. So I'm thinking, "Great it works." Now I have the same issue just slightly different. Pluraleyes lined up the wedding ceremony, no problems. Pluraleyes lined up the rehearsal dinner speeches, perfect as can be. But then I tell Pluraleyes to line up the reception, it will not sync it. For the record, Comcast has better customer service than Red Giant. I even called during their listed business hours and they did not answer. I also sent them an email a month ago, and they have yet to get back with me. I have tried using Adobe's version of video/audio syncing and it doesn't work for crap.
  20. Hello- I am shooting a film and I planned to use the Sony A7s and these TV simulation LED flickering lights. But the lights cause banding and video flicker. Is there a way to get a "clear scan" on the A7S camera? Thanks! The light: http://www.amazon.com/FakeTV-FTV-11-US-Bright-Burglar-Deterrent/dp/B00BTKGHDE/ref=lp_6705498011_1_1?srs=6705498011&ie=UTF8&qid=1461771088&sr=8-1
  21. Hello, My names Trevor, I've been getting super into film over the past few years and am by no means an expert in the slightest. I got my first camera a few months ago (Nikon D3300), and I know all about settings, set-up, etc, I run on manual. Anyway I've been doing more and more test videos in different situations and no matter where I am no matter how low the ISO is, the shot always seems to have a TON of noise and be very dark. I put a sample shot below. Camera: Nikon D3300 Lens: Kit 18-55mm Settings: 800 ISO f. 3.5 Any help/advice is extremely appreciated! (Don't know if it's me or the camera but I feel really held back by the quality I'm getting.) Yes I know its very out of focus, wasn't bothering with focusing.
  22. Just a little montage of my hometown set with the tallest man on earth singing. https://www.youtube.com/watch?v=9-3yo6l37Wc this is my youtube channel: https://www.youtube.com/channel/UC0fwLKSw8Ii8Imsi-xetfaw thanks for watching.
  23. https://www.youtube.com/watch?v=9-3yo6l37Wc This is just a little montage of my town with The Tallest Man on Earth singing Hang Me, Oh Hang Me. This is the rest of my channel: https://www.youtube.com/user/cleanupbigfoot23 Enjoy and thanks for watching.
  24. LOS ANGELES (September 8, 2015) - Vitec Videocom's Creative Solutions unit today announced it has opened a showroom in Los Angeles to allow industry professionals hands-on experience with products from Paralinx, SmallHD, and Teradek brands. The focus of this new showroom - dubbed Creative Solutions Los Angeles (CSLA) - will be to outfit, educate, and support customers looking for assistance to configure their rigs and learn more about the ways emerging technology can boost their effectiveness on set. Additionally, the CSLA showroom will feature a wide array of products from the Vitec Group's arsenal of film equipment brands. Trying to configure your camera as a handheld rig providing real-time wireless monitoring while simultaneously streaming to the web? The knowledgeable staff at CSLA is available to show you all the various options and inform you of the best gear for the job. The CSLA showroom is housed in the fully re-designed former Paralinx facility located near the I-5 and 134 freeways, at 5329 West San Fernando Road, Los Angeles, CA 90039. In addition to providing expert advice and support, the CSLA location will host a series of educational workshops focusing on different technical aspects of content creation. "The Paralinx team has always prided itself on being deeply embedded in the LA film production community and this new effort--in coordination with the talented teams at Teradek and SmallHD--affirms our dedication to direct interaction with content creators in the busiest production hub on Earth," said Greg Smokler, Co-Founder of Paralinx and General Manager of CSLA. CSLA will be open 9 a.m. to 5 p.m., from Monday through Friday, and invites all interested industry folk to stop by for a look anytime. All those curious to see which new products are being launched from Paralinx, SmallHD, and Teradek at the IBC trade show in Amsterdam (Sep.11-15) are encouraged to attend a special event at CSLA on September 21st. Contact info@shopcreativesolutions.com for more details.
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