Cinematography

Is there any filmmakers in my network who can help Bryan out?

Hey Bryan, I guess this is a bit late of a post and hope it helps. Filters are usually a call to make for the cinematographer to get he desired look of the film you’re going for. The most common filters are ND filters that cut down the amount of light entering the lens without changing your apersture. So if you want to shoot at a 2.8 but everything is blown out you can add .3 ND to cut down one stop of light. The other filters such as BPM, Pearl, etc.. are more cosmetic. They may change the dark and heighlifht areas of the image, they may create a bloom effect. Some may add imperfections to a lens that may be super sharp, because the DP wants a more softer look to them.

At the end it’s to help you get the look

Hi Jared, there is a lifetime to learn about cinematography if one wants to be a DP but as you plan to direct, you only need to know what a DP does and find one who will support your vision. Most veteran DPs work under new directors often, regardless of budget size. A good DP will help you figure out shot lists, blocking and so on without upstaging you. Professionals are in the habit of making their director look good. Don't worry as much about the camera they bring or their credit list, so much as maybe direct some small projects and find a DP who you personally click with before taking on a bigger effort. In this way, you learn your collaborative style as a director, as well as learn more about the craft by being there.

I agree with Royce and also enforce my previous statement of just go out and make it. If you don’t know a DP or can’t afford one, shoot it yourself. If you don’t know an editor or can’t afford one, do it yourself. There are levels of quality we all strive to hit, but if your story sucks and nobody wants to watch it, then who cares how good it looks? STORY. STORY. STORY. I’m just going to keep hammering it. Much love to everyone participating on this platform and these threads. We’ll all get there eventually if it’s what you truly want. I’m here if anyone wants to reach out for input/advice/etc.

Collaboration. Share your dream. Don't do everything yourself. You just gotta explain what you want to your people and let them do their jobs.

hi, guys i believe in do it yourself someday you will be a better one, because practice make perfect but always ask questions for whats u don`t know

Hi Jared:Call me when you need to hire an experienced Director of Photography/Cinematographer.

"PIGS" Motion Picture filmed in Eastman Color 35mm by Glenn Roland Director of Photography/Cinematographer New 2k Restoration Now Screening on Blu-ray/DVD from VinegarSyndrome.com

You're on your way with what you have already. Definitely get your hands on some software that handles cloning, metadata management, audio syncing, and rendering that will run well on your machine, like Scratch or FireDay or Resolve (which might need a beefier GPU) if you're dealing with a lot of Red footage).
The workflow is something you'll have to figure out for each project, but you can at still come to them with a standard workflow that you can use as a starting point for figuring out what your client needs.
Some will want dailies color graded, some will want you to use a LUT, it's going to vary.
I also recommend this book, it has a LOT of information in it about DITs and workflows, and examples of DIT carts and so on:
https://www.amazon.com/Filmmakers-Guide-Digital-Imaging-Cinematographers...

THANK YOU. This is very helpful.

No problem!

GPU power, has many more cores then a Mac.

Have your matching plate available on set. Do a live mix in the monitor if you can to check rough position and scale. Frame and shoot a few mm wider than scale to allow for fine tuning and repositioning in Post.
Wind on the actor is a nice touch if you can get an eFan - or if sound isn't an issue even a box fan.
Give yourself enough tracking marks if you're moving the camera. If your plate is static you can still get movement by sticking with nodal moves.
Your key and color should match the lighting from the plate, so having the plate on set is a must. Depending on where the sun is in your plate, that is likely going to be your key or your rim light. A bounce off a card might be a nice matching fill. If not, supplement with a fill that feels natural for the environment. a good rim light is also going to help you with a cleaner separation from the green screen.
I like to keep the subject at least fifteen feet away from the green screen and light the chroma separately, cutting the key and fill off the screen as much as I can. Contamination isn't as big a deal as it used to be, but the cleaner the green, the easier the key will be to pull.

Great thanks

Shoot your plates first. Otherwise, you have nothing to match subject lighting or angle to on stage.

Yes BMD could release it late this year. Not good I would need it in may/june.. But it looks really good for now. With EF speedbooster it could be really nice piece.
URSA mini has body weight 2,3kg it would be too heavy and too big if I'll add there all the accessories.
I am thinking about Kinefinity Terra 4K. That coould be pretty solution. Weight is just 990g and it's going on SSD's what is better solution as CF cards i think (price vs. capacity)

I haven't experienced the Kinefinity Terra 4K, so wouldn't like to comment? hopefully someone else will be able to add some insight...x

Black Magic cameras work well for outdoors, thanks to their wide dynamic range and relative compactness. Never mind that they're also inexpensive. :)
I've only been able to play with the Kinefinity cameras on the NAB show floor. They're hard to find in the US, unfortunately, because they seem like great cameras.
The Ursa Mini cameras are excellent.

Kinefity is chinese company from what I am little afraid if I have to say true. But recently they added some dealers in Europe. I don't know.
These days I am thinking about ursa mini pro. Looks interesting.

Any of the DSLR options would do the trick. The GH5/GH5s or A7s options are good. Whatever you choose, I would suggest renting or buying a variable ND filter so you can open up your lens and get some depth of field while outside. That is one of the crucial elements for creating cinematic daytime exteriors.

You know, I didn't check his venue. I'm in a NYC head. Seattle should be cheaper.
I never said the on-line, correct and mix were one job, I was writing sparsely. $800/day in LA is about $65 - $80 an hour. My $50/hour is a NYC on-line cost, based on my experience as a post house and Indie editor there. Seattle must be lower, and if Tony M off-lines, hour upon hour of on-line editing time is saved.
If you're carrying a note on a Red, you'll grab whatever you can when you can. $600/day for high end is a great rate. NYC is closer to $1000.

Sorry... 2 Tonys :) I was referencing editorial to the OP re $800/ day. 10 hour day. Just edit. I know good ones exist cheaper... very hard to find in my experience.

NP. :)

Thanks for the awesome input guys!

Welcome Tony Marzano Great first name. ;)

Thanks.

I had considered the DoP with gear but, well, cha-ching is a big factor. We'll have to keep looking around for prices (not at loss of quality).

The concept is very easy-shoot though, with a no-nonsense approach (so we won't need a Christopher Doyle).

The buy option - even factoring in extras equalling probably double the cost - would still work out more cost-effective than renting, and certainly less hassle... but they are insured and any accidents wouldn't mean the production shuts down.

If 4K is a delivery requirement make absolutely certain that the actual 4K codec you are working in satisfies those requirements. "4K" is not a single format. Netflix is a good example- their partner projects must use an approved camera, and only in the approved format and workflow parameters.

Speaking from experience, the Black Magic is a gem. I’ve used it on multiple productions this far. But, don’t let the equipment stop you from creating. Everything you need is right in your hands, brother. Let me know if I can help you out.

Ryan, when did you use the BlackMagic Pocket Cinema Camera 4K? As it is not yet released to the public, was everything on the pre-production you must have used working? What insights can you share from using this camera?

The Pocket 4K camera isn't available yet. Most of BMD's cameras have been very good though; there were some that had QC problems early on, but the cameras are pretty solid now -- enough to get on the Netflix approval list. Obviously, the new Pocket 4K isn't yet, since it's not available and Netflix tests cameras pretty rigorously before certifying them.
Buying is only more cost effective than renting if you plan on using the gear you buy often. If it's just for one production, renting or making a deal with an owner/operator or owner/DP is probably more economical.

Hey Patrick,
I am definitely interested in helping out. Here's a link to a short that I was the DP and writer for.
https://www.youtube.com/watch?v=NgvkrVrKf94

What's your budget?

At Dan: Budget is $1000

hey patrick, would like to help you shoot your western this summer, i do have gear, this is my reel- www.cinedirector.net
feel free to email me directly at shawnon2@gmail.com

Have you looked at some of the software available on tablets/iPads for animation? Might be the most cost efficient way to go. Wishing you the best because you definitely have a mountain to climb!

Depends are you looking for 2D or 3D?

https://www.renderforest.com/blog/best-animation-softwarehttps://www.ren...

I think of the dread of being in the woods coming from not knowing if there's something lurking around the corner or in a bush. So highlighting those moments with good sound design - the sound of the persons own heart or breathing and things like that could help accent the visuals. Also wide shots, showing the vastness - making the character feel small. Things like that.

maybe something like this? https://www.youtube.com/watch?v=oq5yg6pIMcs

Coolers with lots of dry ice works wonders

shoot during an overcast day.. and color grade in post.

Some elements to consider...
Keep everything back/edge lit by lower sunlight through trees.
Color pallette leaning towards cool (blues and foliage bluegreen).
Crushed blacks... increase contrast carefully in the color grade.
Overcast days will be extremely flat and even, so barring a marine layer to break up the distance, it may not look anything but pretty... but the sky will be hot. Instead using the contrast inherent in dappled sunlight works well even when colors are played "normal"... see also DELIVERANCE.
If you luck into a day with rolling clouds that keep passing, you can embrace their effect, especially in black and white... theres a long dialogie scene in THE LAST PICTURE SHOW where no attempt is made to deal with changing exposure from clouds, and it feels tremendous as a viewer.