Cinematography

Hi Tom...Motion Picture Film is still the Best Master and Best Image. I always prefer film over digital image.

TNT's Peabody Award winning "The Making of a Legend: GONE WITH THE WIND"(GLENN ROLAND Director of Photography/Cinematographer 35mm & 16mm)

Can anyone in my network help Vasco Saraiva out with this?

Thank you so much, Amanda!! it would be great to get some help, but apparently, no one can. Thanks again.

Maybe @andrewsobkovich might know the answer- he's really great

My apologies, I was away, feeling sorry for myself.Vasco, I am a bit unsure of your question, but I will assume you talking about tilting down. The pivot point on the handle that the stabilizer is supported on should be very free moving. Weight should not be a problem, however on gear that is more affordable, the quality of some components may be limited by price.If the pivot is not free moving and you cannot lubricate it, try a little experiment. Add some weight to the camera and the counter-balance. Balance the stabilizer again and see if the move is doable in the time you wish or if it is faster at all. If you are not asking about tilting the stabilizer, please tell us little more about what you are trying to do.

I had a chance to look at the Aputure AL-MX a few days ago. Decently made and the owner was happy with it. Has a workable set of features, and the aluminum construction was an added bonus. I have no idea how good the color is as that depends a lot upon the camera you will use it with. The light and camera have to work together to create the color. As an almost firm rule, I never light people with LEDs I'm not happy with the results, but that is me and my usage. You will need to test and see if you like the results. If you mail order this light make sure you can return it. It does seem like a decent quality product.Yes, bigger is better. However the "bigger" I consider is the amount of light output not the physical size of the unit. If you have too much light there are many options for decreasing it, but if you do not have enough light something will have to change n your set-up. Aputure makes a light called the F7 that I know about but have no hands on information about. Might be worth considering as well.

Thanks so much for this Andrew!

Which one did you go with?

Awesome! :)

There goes my job. Better learn drone operating. Thanks for sharing.

wow, that is a nice take. I'm really very interested in the continuous shot and how to capture a scene without interfering in it. . thanks for sharing.

If I'm allowed to, I always ND up to shoot wide open simply because I like shallow dof. However, you can achieve the same using gels on lights. I was in FotoKem years ago watching the dailys from The Matrix and was surprised that BIll Pope never used any filters at all, the entire look was done using gels with little grading.

Filters basically affect 2 things, colour or diffusion with at least one notable exception.

Colour change with filters are in 2 general categories; technical correction and let’s term it artistic correction.

Technical correction would include accurate colour changes for colour temperature, i.e. using a native 3200K sensitive material with 5600K a light source. Also included would be neutral density filters, which should be but are not always totally neutral or having no effect upon the colour. Artistic colour filters are used to add an effect to part or all of an image to enhance an emotional response to images, i.e. adding a pinkish filter to change the feel of an image.

Diffusion filters spread light from sources (some perhaps outside of the frame) to other parts of the image. In a controlled way. Perhaps you wish to have sources in the frame to have a glow around them, perhaps you wish to lessen the contrast. Both will happen. One of the common uses is to soften faces in the image in various ways.

The one exception to the above categories is polarizing filters. They lessen the impact of light reflections on surfaces. Polarizers are the only filter that will darken a blue sky more than the rest of the image. There are many uses, but caution, care, and artistry must be used because without reflections many images do not look as good, faces being one of them that can be over polarized. Because the orientation of polarizer needs to be adjusted before every shot, the need for a rotating mount goes without saying.

When using filters to affect images, the final effect will probably not only be the filter. Many things contribute to the final effect. A given diffusion filter will have a different effect upon an image shot with a wide angle lens and one shot with a long lens. Similarly colour and diffusion will interact with the lighting and the exposure. You need to know, do not just assume, what the final effects upon the image will be. Testing and experience is critical.

One final point is that there are “filters” available in post. Know when to use optical filters, post filters, lighting filters or in reality all 3 of them. Diffusion on the lens has a very very different look than anything created by an algorithm in post. If you choose in part to utilize post filtration, the DP must control which post filters are used and the degree to which they are used.

Thank you all for your feedback I've learned a lot!

FWIW, the camera's WB function is not necessarily an adequate replacement for colour correction filters. The greater the difference between the sensor and the ambient light, the more you need physical filters. Keep this in mind, especially when shooting in low light levels.

Ken, since you mentioned it, could you please explain to me the purpose of grading? thx

I'll post what I told him. (Just to get it started)1- Typically, I get recommended by a former client/colleague. I rarely get hired based solely on my resume but it happens. Networking is key.2- It varies. Sometimes they already have a rate in place (production companies/studios/networks). Private clients/brands/comapnies give me a number and I can decide if I'm good with that number for that job. Individuals, I give them a rate.3- I only get annoyed when they choose not to cooperate with you. Doesn't happen that much. Most people hire you because they trust you to do the job. Honor that trust and guide them through it as a partner. Be helpful. If they don't trust you, you're done.4- I have a number that is my minimum for a set amount of time. It's not much different from standard Hollywood Cam Op rates. If they can't meet my minimum, it's not worth my time. I got bills, too.5- Depends on the job. Sometimes they already have gear and just need an operator. If I do use my gear, I charge additional fees, BUT I also consider their budget and may offer discounts, depending on the job.6- It's a tricky thing. If you think you'll benefit through networking or getting future paid work, do it. If you really like them, do it. If you feel like it's a "one and done" deal or that they're just trying to take advantage, tell them your rate and stand by it.Who's next?

Hi Julia - did you try searching for cinematographers & networking with them under the Browse section on the top menu bar? We've met several German cinematographers that are Stage 32 members at Cannes. Good luck on your search!

How did I miss this post! This is an awesome share John Villante ! Thank you!

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...

Thanks. I will look into it.

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.