Recent posts from the Cinematography.com forum. http://www.cinematography.com/index.php Wed, 16 May 2012 20:48:54 +0000 30 http://www.cinematography.com/style_images/ip.boardpr/logo.jpg http://www.cinematography.com/index.php http://www.cinematography.com/index.php?showtopic=56229


The time and sun angle on the picture are pretty average because I do not know the location yet. So, there are my questions:

1) Does the size of the bounce card is enough for the current placement?
2) How to mess with the change of the sun azimuth angle during the day? It's pretty hard to make whole music video for just two hours; I want to have something about four hours. I have to change the position of the bounce card during the day or should I leave it motionless?
3) Could I use 2k Arri fresnel head with CTB gel as a kicker at the lead singer if I have the exposure value like 15EV in the scene?
4) What about the sun elevation? What elevation value in degrees would be nice for my lighting scheme?

Thank you a lot.]]> Wed, 16 May 2012 20:48:54 +0000 http://www.cinematography.com/index.php?showtopic=56229 http://www.cinematography.com/index.php?showtopic=56228 Thanks,
Jayson L. Wilkins]]> Wed, 16 May 2012 20:17:17 +0000 http://www.cinematography.com/index.php?showtopic=56228 http://www.cinematography.com/index.php?showtopic=56227
"Don't try to be original, just try to be good".

I was one of the only people there to have a serious problem with this. For starters, NYFI's tuition costs an arm and a leg. "Good", is not worth 100,000$. I was also shocked that a school could post something like that in the first place. Since when do schools, especially film schools, have the gall to downplay originality?

So my response was:

"Wow. I couldn't disagree more. What a stupid post, especially considering the fact that there are so many prospective students lurking about. On a brighter note, thanks for saving me over 100,000$ in tuition


To which they responded:

"sorry to hear that. But please keep in mind there are many world-famous directors who would disagree with you. Quentin Tarantino, for one. There's hardly anything that's original in the world. We only get to *play* God. Thanks for getting in touch!"

I imagine that they must have thought I was an 18 year old with delusions of grandeur that idolizes and emulates Tarantino (like so many of their applicants). I was offended that they did not take me seriously and used such a cliched run-of-the-mill response.

So I finally wrote this:

"NYFI, are you kidding me? You are an EXPENSIVE school and you're training the future generation of filmmakers. WE deserve for your standards to be high and for you to demand excellence and nurture creativity and originality. Quentin Tarantino can wax philosophical all he wants, do you think he'd be where he is today if it weren't for his ingenuity and originality? In fact, despite what Quentin Tarantino might think (and why you would think it would interest me in the first place) he is the EMBODIMENT of originality. And don't forget, at the end of a student's relationship with your school -- WE STILL NEED TO FIND JOBS! What studio in their right mind would let a "good" directer lead a big budget project? What director/producer would hire a "good" DP? What DP would hire a "good" lighting technician? What agent would sign a "good" writer? None would, and I wouldn't blame them. Hollywood is STARVING for originality... and y'all know it "

Am I wrong here? Did I misunderstand their intent?

Some of these film schools, if not all of them, are just as much business enterprises as they are educational institutions. NYFI will survive if 99% of their students don't find work after they graduate. Not only will they survive, they'll flourish. We, the students and potential students, will suffer if we spend 4 years and an ungodly amount of money and not find work. As a business, they have nothing to lose and kids will continue to still swamp them with applications every semester.

I don't know, maybe I overreacted but it really pissed me off.

What do you think?]]> Wed, 16 May 2012 19:16:02 +0000 http://www.cinematography.com/index.php?showtopic=56227 http://www.cinematography.com/index.php?showtopic=56226 if you know a place where they sell them......
Thak's]]> Wed, 16 May 2012 18:44:53 +0000 http://www.cinematography.com/index.php?showtopic=56226 http://www.cinematography.com/index.php?showtopic=56224 Wed, 16 May 2012 16:26:05 +0000 http://www.cinematography.com/index.php?showtopic=56224 http://www.cinematography.com/index.php?showtopic=56223 Wed, 16 May 2012 16:08:48 +0000 http://www.cinematography.com/index.php?showtopic=56223 http://www.cinematography.com/index.php?showtopic=56222 Basically, I'm thinking of producing a short film at some point, and would like to know what is involved in paying people that work on it. I think there's some form like w-4 or something, not really too sure about anything though. I guess some details on the production would help. I'm thinking the budget would be around 35K. Let's say SAG actors too because I know that makes a big difference in paperwork. Also, the length of production would be around a week. Maybe some info on how and when people get payed too would be nice. Do you pay the actors anything up front? Or is it all mailed to them later? Also, let's assume none of the crew is union. If anyone happens to know all of this and feels like just answering these questions that would be great, otherwise some links or books would be nice.]]> Wed, 16 May 2012 15:06:22 +0000 http://www.cinematography.com/index.php?showtopic=56222 http://www.cinematography.com/index.php?showtopic=56220
Sadly, I'm not right now in a position to develop any test footage.

I'm using a bolex lightmeter (which has built in compensation for the reflex viewfinder), taking incident lightreadings outdoors, mainly shooting high contrast light/dark subjects. Shooting on double-x 7222 b/w neg stock.

Many thanks,
Richard]]> Wed, 16 May 2012 09:51:42 +0000 http://www.cinematography.com/index.php?showtopic=56220 http://www.cinematography.com/index.php?showtopic=56219
Great Lens Make Great Cameras！Panasonic introduces Lumix DMC-ZS15---A All-rounded High Zoom Camera. So far, have you fully understand it now?

◆Highlights
■16x optical zoom, 24mm Ultra-wide LEICA Lens
■AVCHD/MP4 Full HD Video Recording
■POWER O.I.S. with Active Mode ensure stability when shooting
■0.1sec Light Speed AF
■Newly added creative shooting options of HDR, miniature effect and panorama shot
■Support in-camera post-processing with Creative Retouch function
■3" LCD (460k pixels)
■Support manual exposure for professional photography

Good! When you got the 1080/60i AVCHD files from the ZS15, what would you do with them? I would like to convert DMC-ZS15 1080/60i AVCHD to Adobe Premiere, FCP, FCE, iMovie or some other common video editing programs on Mac.

Have you tried to import Panasonic ZS15 1080/60i AVCHD to Adobe Premiere on Mac, while, did you encounter such a problem: the 60i AVCHD is not so compatible for Adobe Premiere for editing?
Well, already found the solutions now?

Not yet? No worries! Today, in this artical , I would like to share with all of you about my solution.
First of all, you must find a professional Mac AVCHD to Adobe Premiere Converter. Only with the help of it, you can transcode DMC-ZS15 1080/60i AVCHD to MOV(AVC) for Adobe Premiere on Mac.
So, here I'd like to highly recommend Brorsoft MTS/M2TS Converter for Mac for you. Please google search Brorsoft website or click the links in this article to download these top tool, install and run it, then follow the guide listed below.

Step 1: Connect your Panasonic DMC-ZS15 to your Apple with USB2.0. Launch the Mac AVCHD to Adobe Premiere Converter. You preview your video files if necessary.
Tip: If you want to merge DMC-ZS15 .mts files for Adobe Premiere, you can tick the “Merge into one” box.

Step 2: Click the format box and you will get a drop-down list and you can easily find the Adobe Premiere/Sony Vegas> MOV(AVC) (*.mov) format which is the best format to transfer the MTS files to your Adobe Premiere. Then set the output folder by clicking “Browse” icon as you need.

Step 3: Click the “Settings” icon and then change the default codec, bit rate, frame rate, sample rate and audio channel to optimize the output file quality.
Notes:
1. You’d better set the video frame rate as 24fps, video size as 1920*1080 to get the best quality for editing in Adobe Premiere.
2. Before start the conversion, you’d better deinterlace DMC-ZS15 1080/60i AVCHD for Adobe Premire on Mac first.
Click Edit and you will go to the Video Editor. Then click Effect and select "deinterlacing".


Step 4: Start converting Panasonic DMC-ZS15 1080/60i AVCHD to Adobe Premiere on Mac.
Click the “Convert” button; it will transcode DMC-ZS15 MTS to MOV(AVC) for Adobe Premiere on Mac immediately. You can find the process in the “Conversion” interface.


Once the Mac AVCHD to Adobe Premiere conversion is done, you can get the output files easily. Now, it’s easy for you to import and edit Panasonic DMC-ZS15 1080/60i AVCHD(.mts/m2ts) footage in Adobe Premiere on Mac.

See Other Guides:
Convert/Import Sony HDR-CX200/B 1080/60i AVCHD MTS to Adobe Premiere Pro CS5.5 on Mac OS X
Convert/Transcode Sony HDR-PJ580V AVCHD 1080p MTS files to Adobe Premiere Pro CS 5.5 with Dolby Digital 5.1 on Mac
Convert/Transcode/Import Leica V-Lux 2 1080i AVCHD to Adobe Premiere Pro CS5.5 on Mac
Convert Sony A77 AVCHD 1080p MTS/M2TS to Adobe Premiere CS 5.5]]> Wed, 16 May 2012 09:19:55 +0000 http://www.cinematography.com/index.php?showtopic=56219 http://www.cinematography.com/index.php?showtopic=56218
I have bought a Eclair NPR some time ago which is converted to super 16. But right now it would be convenient for me to use normal 16 mm film.
So my question is, is it possible to use 16 mm film in a super 16 camera? One of the sprocket sides will probably be exposed. Other than that, could there be major complications?
Thanks in advance!]]> Wed, 16 May 2012 09:07:10 +0000 http://www.cinematography.com/index.php?showtopic=56218 http://www.cinematography.com/index.php?showtopic=56217
I've just started research to buy a Red camera and a set Zeiss lenses. I am researching if there are any used Red Epic and sets of lenses on the market or not. Does anyone know any reputable companies that sell used film/video equipment?
I am based in Hong Kong so there are not that many film/video camera suppliers here. I can buy new but not necessarily used.

Thanks for any advice!
Morgan]]> Wed, 16 May 2012 07:18:43 +0000 http://www.cinematography.com/index.php?showtopic=56217 http://www.cinematography.com/index.php?showtopic=56215 for HD telecine and I want it to be 4x3 aspect ratio with black pillar boxes on the side. I have read that hd telecine is natively
16x9. Is it possible to have the telecine HD with a 4x3 aspect ratio or is 4x3 only possible with SD telecine. Most of the shots are
with a fisheye and I do not want to lose any image from the top and bottom of the frame. Thanks in advance!]]> Wed, 16 May 2012 04:06:53 +0000 http://www.cinematography.com/index.php?showtopic=56215 http://www.cinematography.com/index.php?showtopic=56213 Love to hear the answer and thank you for sharing your knowledge with a guy just getting started.
Thanks,
Jayson L. Wilkins]]> Tue, 15 May 2012 21:30:08 +0000 http://www.cinematography.com/index.php?showtopic=56213 http://www.cinematography.com/index.php?showtopic=56212 I want to start simple in my education.

2 people are facing each other talking In windowless room. The cut would be from person to person. A 2 shot to establish they are together but then each cut is one person talking and no over the shoulder.

Should all the lights be exactly the same length from each subject and should they be coming from the exact same angle.

Should I measure distance and and angle from the first subject and then replicate it when lighting the second.

I ask this to learn and while practicing at home I have to be both people as I have no one else to help me.

Thank you
Barry]]> Tue, 15 May 2012 14:25:09 +0000 http://www.cinematography.com/index.php?showtopic=56212 http://www.cinematography.com/index.php?showtopic=56209
We're looking to buy CANON J22 X 7.6 TELE ZOOM and steady/Glide Cam.

Any help would be much appreciated.

Thanks.

Shahid Aziz
BBCL]]> Tue, 15 May 2012 10:58:49 +0000 http://www.cinematography.com/index.php?showtopic=56209 http://www.cinematography.com/index.php?showtopic=56208
We're looking to buy CANON J22 X 7.6 TELE ZOOM and steady/Glide Cam.

Any help would be much appreciated.

Thanks.

Shahid Aziz
BBCL]]> Tue, 15 May 2012 10:56:20 +0000 http://www.cinematography.com/index.php?showtopic=56208 http://www.cinematography.com/index.php?showtopic=56205

Nowdays , most of the movies are made in 3d . I have experienced that it is great to watch 3d movies in theater. It feels like we are in the movie. Whether you love it or hate it, 3D is definitely going to be a big part of the home theater future. So , I have a question : is it possible to convert 2D videos to 3D Movies? Thus, we can see 3D movies on 3D TV, or other compatible 3D display device.

Recently , I google search this topic and find a great software just with this feature.It is called Brorsoft video converter. Also I find they are recently updated this feature. See their products updates history on May 8, 2012 listed below:

Date: May 8, 2012 (V1.1.1.3688)
- Newly support getting 3D effect from 2D video
- Optimize the Effect user interface in Editor
- Raise the default bitrate in Apple TV profile
- Support AC3 5.1 pass through and AAC stereo for ATV2, ATV3
- Add profiles for new media devices Asus Padfone, HTC One X, etc

Detailed Key features of this top 2D to 3D Video Converter:
1. Create a 2D video with the 3D effect (anaglyph video)
2. Convert video files to any video format like MP4, WMV, AVI, FLV, MOV, MKV, VOB, etc
3. Support various popular media devices including iPad 2/the new iPad, Apple TV, Galaxy Tab, etc
4. Come with a built-in video editor
5. NVIDIA CUDA& AMD APP(ATI Stream) support

Wow~! It is amazing! Right? What else, they also provide step by step guides for you to create 3D movie from original 2D video. Let's see together and have a try!

Preparations:
1. Download this powerful 2D to 3D Video Converter. Install and run it on your PC, which is running Windows 2000/XP/Vista/Windows 7
2. Prepared some 2D videos.

Next, follow the full guide listed below:
Step 1: Click the button “File” to add video files to it. If it is necessary, you can double click the each file to have a preview.
Tip:
If you have several video files and wanna combine/merge several video files, you just need to tick off the “Merge into one” box.

Step 2: Click on the dropdown menu of “Format” and find the video format you need. Here we take “H.264 Video (*.mp4)” in Common Video profile as an example. Then set the output folder by clicking “Browse” icon as you need.

Step 3: Click the Edit button and you can go into the Video Editor interface. Click the Effect icon to set the 3D settings. You can choose the 3D effect Red-Blue, or Red-Green, and set the 3D depth as you like.


Step 4: Click the “Convert” button; it will convert 2D video to 3D video immediately. You can find the process in the “Conversion” interface.


After the short 2D to 3D movie conversion, you can get the output file effortlessly. Now, you can enjoy your 3D movies on your 3D TV, or some other 3D supported multimedia devices at ease.

If you wanna learn more about this outstanding 2D to 3D Video Converter, please link to Brorsoft Video Converter.

Other article you may interested in:
Brorsoft Products Update- ATV 5.1 Channel Applied & 2D to 3D Conversion Support]]> Tue, 15 May 2012 06:28:46 +0000 http://www.cinematography.com/index.php?showtopic=56205 http://www.cinematography.com/index.php?showtopic=56204
For the May 19 event, ASC members will convene at 2:30 p.m. at J.L. Fisher to discuss the current state of visual storytelling. Slated to speak are: Stephen H. Burum, ASC; James L. Carter, ASC; George Spiro Dibie, ASC; Michael Goi, ASC; Karl Walter Lindenlaub, ASC; David Mullen, ASC; Daniel Pearl, ASC; Dante Spinotti, ASC, AIC; and Amy Vincent, ASC.*

The J.L. Fisher Annual Mixer and BBQ Lunch is an event held in conjunction with the ASC, ICG and SOC. It takes place from 9 a.m. to 4 p.m. at 1000 West Isabel Street in Burbank. No RSVP required. For more information, go to http://www.jlfisher.com.

The June 2 panel at Cine Gear Expo will be held at 1 p.m. in the Sherry Lansing Theater. ASC members will delve into the artistic nature of cinematography, using real-world examples to demonstrate the process of creating a visual style for projects based on each member’s experiences. The panel will feature: Dion Beebe, ASC, ACS; Stephen H. Burum, ASC; Patrick Cady, ASC; James L. Carter, ASC; George Spiro Dibie, ASC; Michael Goi, ASC; Karl Walter Lindenlaub, ASC; Donald A. Morgan, ASC; Dave Perkal, ASC; Roberto Schaefer, ASC; Dante Spinotti, ASC, AIC; and Haskell Wexler, ASC.*

Cine Gear Expo in Los Angeles is held at The Studios at Paramount in Hollywood. Registration in advance is free for attendees. Visit www.cinegearexpo.com for details.

Both panel discussions are structured so that questions from the audience drive the conversations, and will be moderated by Dibie, chairman of the ASC Education and Public Outreach Committee for the organization.

“As production and post-production become more intertwined in today’s filmmaking environments, the role of the cinematographer as artist of the images is more important than ever,” says Dibie. “The ASC is dedicated to supporting emerging filmmakers, sharing our knowledge, and collaborating with all departments in the creation of moving images.”

Dibie notes that ASC members frequently speak at colleges and universities around the world, as well as at the ASC Clubhouse in Hollywood, where many film school students join members for intimate dialogues regarding movie-making.

“We open our doors to anyone studying screenwriting, directing, producing, design, acting, etc. because it takes a collective effort to succeed in the process of telling a story for the screen with compelling visuals,” adds Dibie.

For additional information about the ASC, visit www.theasc.com, or join ASC on Facebook at http://www.facebook.com/the.ASC and American Cinematographer magazine fan page at http://www.facebook.com/AmericanCinematographer.

*Panelists are subject to change]]> Mon, 14 May 2012 22:04:48 +0000 http://www.cinematography.com/index.php?showtopic=56204 http://www.cinematography.com/index.php?showtopic=56202 This picture book focusses on the Double-8 and especially the Super-8 cameras of the Braun Nizo era. These high-quality cameras, manufactured until 1982, are still the favorite workhorses for the few remaining small-format filmmakers of today. All about the history of the brand and an interview with the former designer of Braun, Dieter Rams.

Nizo - format 297 x 210 mm, 124 pages, over 150 photos in color, ISBN 978-3-938619-04-9, Euro 49,95, English/German language, photos by Lutz Auhage, text by Juergen Lossau








More infos here: My link]]> Mon, 14 May 2012 20:10:11 +0000 http://www.cinematography.com/index.php?showtopic=56202 http://www.cinematography.com/index.php?showtopic=56200 https://vimeo.com/42066089]]> Mon, 14 May 2012 14:06:36 +0000 http://www.cinematography.com/index.php?showtopic=56200 http://www.cinematography.com/index.php?showtopic=56197
I'll post up my plans when I draw them up.]]> Mon, 14 May 2012 00:49:13 +0000 http://www.cinematography.com/index.php?showtopic=56197 http://www.cinematography.com/index.php?showtopic=56196 Mon, 14 May 2012 00:48:54 +0000 http://www.cinematography.com/index.php?showtopic=56196 http://www.cinematography.com/index.php?showtopic=56195 Hello everybody.

I'm about to start shooting a short road movie (about 20minutes). after discussions with the director we decided to shoot it using entirely natural light. 80% of the scenes inside the car will be shot with natural light using the canon 5d mark II. So do you have any experience on shooting inside the car while it's moving? we're also using canon lenses, 70-200mm f4, 24-105mm f4, 35mm f2 and 16-35mm f2.8.

thanks, Areti.]]> Sun, 13 May 2012 22:05:21 +0000 http://www.cinematography.com/index.php?showtopic=56195 http://www.cinematography.com/index.php?showtopic=56193 No real budget, very low pay, no crew! Just me and the director. I loved every second of it!
https://vimeo.com/38926351]]> Sun, 13 May 2012 20:23:06 +0000 http://www.cinematography.com/index.php?showtopic=56193 http://www.cinematography.com/index.php?showtopic=56192
Robert]]> Sun, 13 May 2012 17:12:10 +0000 http://www.cinematography.com/index.php?showtopic=56192