Filmmakers|Cinematographers|Videographers|Official Thread

[Cloudmen]

Here's the dance video shot that I've been having troubles with exporting/uploading to YouTube. Butt f*ck it, I just upscaled it to 1440p lol



Camera: Blackmagic Pocket Cinema Camera
Format: ProRes HQ
Lens: Rokinon 14mm 2.8, Canon 18-55mm 3.5-5.6
Adapter: Zhongyi Mitakon EF to MFT Lens Turbo
Stabilizer: Varavon Birdycam 3-axis gimbal

In other news, after the shoot I went ahead and sold the Rokinon and my adapters, the Mitakon Lens Turbo and Vizelex ND Throttle. Then I got myself the Sigma 18-35mm 1.8 (EF mount) and the Metabones EF to BMPCC Speedbooster. Can't wait to really use it!

Late but still very in! This thread (and the previous) was one of the main reasons to join the misc after years of lurking. How was the Rokinon for you? I have been contemplating on buying it for a while now. Also thinking about the Sigma 30mm 1.4, enyone in this topic used it?

[ejz69]

PM'd back.

Who do work for? Can you share some work? The pictures in that one post aren't loading.

Idk why they didnt show let me upload again.

I work for GFL (Go Fight Live) We shoot all of the combat sports fights in my region

If I have a second tomorrow I'll upload some of my work (all of my good stuff in on my computer at work)

Just finished a 2 hour show for SNY and CSN this morning


For anyone who is looking to pursue TV as a career, it's a lot of fun brahs. Heres a few pics from work.

About a month ago filming live MMA at Madison Square garden, (thats me with the camera in the ring)

[MarkA15]

Late but still very in! This thread (and the previous) was one of the main reasons to join the misc after years of lurking. How was the Rokinon for you? I have been contemplating on buying it for a while now. Also thinking about the Sigma 30mm 1.4, enyone in this topic used it?

I like the Rokinon 14mm. I only found two cons for the lens. First it has a pin-cushion distortion which is a little harder to correct but it isn't too bad. I didn't correct any distortion in this case. Second, it has a bulb from element which makes it impossible to use screw-on filters. Of course there are other ways to use filters in front of a lens like this. But other than that, it's nice and wide that can be used on full frame or aps-c cameras. Sharpness is decent. I sold the lens to help fund the Sigma 18-35mm 1.8. Again, the Rokinon isn't bad, I'd recommend it, it's just no point of it if I was getting the Sigma.

I had the Sigma 30mm 1.4 (non-ART) and I used to be in love with it when I would use it on a DSLR but as I started to use the Blackmagic Pocket Cinema Camera a lot more, the lens was just incredibly soft in bigger apertures and was apparent when I mounted (via adapter to mount EF glass) it on the Blackmagic. It's not a surprise though that the lens is softer wide open, that version of the Sigma 30mm is known for it. I still recommend it for low-light shooting. I went ahead and sold the lens and saved up for my now Sigma 18-35mm 1.8 ART.

EDIT: I tried to use the Sigma almost wide open for a Medium/Long Shot on the BMPCC and the focus wasn't catching or it was just unusable soft. But when you focus on a subject that's a lot closer then the image looks decent. Still, I wanted a lens that was pretty good all around which is why I got the 18-35mm. It just depends on what you need. Not everyone is going to use it the same way.

Idk why they didnt show let me upload again.

I work for GFL (Go Fight Live) We shoot all of the combat sports fights in my region

If I have a second tomorrow I'll upload some of my work (all of my good stuff in on my computer at work)

Just finished a 2 hour show for SNY and CSN this morning
[img]http://i.imgur.com/XIcxuWP.jpg[img]

For anyone who is looking to pursue TV as a career, it's a lot of fun brahs. Heres a few pics from work.

About a month ago filming live MMA at Madison Square garden, (thats me with the camera in the ring)
[img]http://i.imgur.com/CxN1oHv.jpg[img]
[img]http://i.imgur.com/XCUOZJk.jpg[img]

Haha one of the reasons why I was asking was because I didn't know what SNY and CSN was but I went ahead and Google'd it. But that's sweet man and I agree 100% that TV as a career is a lot of fun. Not that I actually worked in TV, but had little experience and know people that work in TV. I just love working with music. The cool thing about film is that there's so many different types yet you can appreciate all of them. How did you get into TV?

[Mordecai89]

Job market for anything tv in Aus is non exsistant, people who are in the job will NEVER leave until they're crippled zombies in wheelchairs, plus it's essentially who you know not what you know (which is obvious to everyone ITT)

Just stuck to applying for non industry related jobs pretty much

[BRBhustlingBrah]

*Film School Brah checking in*

Top 5 books on cinematography/film making in general brahs?

pls respond

[KRANE]

*Film School Brah checking in*

Top 5 books on cinematography/film making in general brahs?

pls respond

I'm not sure if there is a consensus, since every school is different. The ones I have are pretty good, easy to read and highly rated. But if there's a list I'd sure like to take a look at it. Until I'm making that 10/day CEO, there's always room fro growth.

One more thing, anybody have experience with the latest Magic Lantern build for the MK III? Can't seem to get these .MOV files to convert. I didn't have any problems with the last version.

Just some full blown editing with some VERY minimal available footage for a video I just to be featured on a fellow fitness youtubers channel (helps me get subs, almost to 30k). With minimal footage to use (all pulled from YouTube) except for the footage of me obviously, I think this came out pretty awesome!

Love to hear what you sluts think!

Tony Do & HumerusFitness Motivation:
[video=youtube;xBil5oqBSZw]http://youtu.be/xBil5oqBSZw[video]
Link for my mobile brahs: http://youtu.be/xBil5oqBSZw

I'd put some video in instead of the black. But that's not anything's wrong, just different. Looks great!

[brake]

hmmm, for some reason I'm not getting consistent notifications from this thread.

Anyway, I DOP'd and Cam OP'd a short film last week, based on Stephen King's short story "The man who loved flowers", hopefully it turns out nicely.

Couple of quick dirty screenies:

[PanasonicYouth]

Those shots alone make me curious about the short film. Any chance it'll be uploaded online?

[Foze]

Basically I want to do a one take short(5 minutes long), but the idea is wholly dependant on the location. And the location costs quite a lot to hire out for one day so I'm saving money for only the shoot day. Therefore we can't really do rehearsal apart from on the day.

Luckily, the main roles only really require walking around the location (with a predetermined emotion) minor dialogue. But I think the difficulty may be the cues i.e when one person is supposed to come in and when someone is supposed to do one specific action. I was thinking the best option would be to try and drill the whole choreography within 2 hours of rehearsals on the shoot day.

There is no sound and I will be using a soundtrack so I could attempt telling the actors what to do as it is happening.

Anyone got ideas on how to make this run smoothly?

[UMrk]

Anybody have some suggested reading/videos or even a fairly priced online program to learn a general knowledge of film? I know that getting out and shooting is most likely the best instruction, but I am looking for overall knowledge. Kind of a 101 type thing. Jargon, principles, basics etc. Thanks

[Godyssey]

In!!

[ejz69]

In!!

nice stats

[brake]

Those shots alone make me curious about the short film. Any chance it'll be uploaded online?

Yeah it will be. Currenty in editing and will probably have some extensive post sound needed.

It's a bit weird because the vibe we were going for was gritty/real/urban/almost doco type feel. Some of the dialogue was scripted but some was improved as well. Lot's of the scenes/montages are improved and the extras/minor characters are real people. One scene has a group of friends drinking and talking, which is actual people (non actors), drinking and talking getting really drunk. There's a bit of a mix of style in scenes too, some scenes are more typical "cutty" with all the angles, more stylistic, while some are handheld oners, so different types of scenes like the different flowers in an assorted boquet of flowers is what we were going for, hopefull it works how we picture it in our heads.

Basically I want to do a one take short(5 minutes long), but the idea is wholly dependant on the location. And the location costs quite a lot to hire out for one day so I'm saving money for only the shoot day. Therefore we can't really do rehearsal apart from on the day.

Luckily, the main roles only really require walking around the location (with a predetermined emotion) minor dialogue. But I think the difficulty may be the cues i.e when one person is supposed to come in and when someone is supposed to do one specific action. I was thinking the best option would be to try and drill the whole choreography within 2 hours of rehearsals on the shoot day.

There is no sound and I will be using a soundtrack so I could attempt telling the actors what to do as it is happening.

Anyone got ideas on how to make this run smoothly?

Oners are harder than your typically covered scene from multiple angles. They seem easier at first glace but you have nothing to hide behind, nothing to cut away to to fix pacing problems or performance problems.

Why can't you rehearse in a similar space? Obvsiouly you know what the space of the place looks like? Draw up a floor plan and rehearse, maybe even draw the floor plan on the ground in chalk and pretend.

As for during filming, you can always call out commands from behind the camera, short commands not setences and just cover those gaps in post when doing sound. Talk to your sound guy about this though. I would prefer to call out commands during the take and have it perfect and have a bit of extra work in post (not much, you would call out the commands during times of just atmos/foley, not actual dialogue) than do more takes etc

This might interest you, a one take short film: vimeo.com/91755923

[KRANE]

Anybody have some suggested reading/videos or even a fairly priced online program to learn a general knowledge of film? I know that getting out and shooting is most likely the best instruction, but I am looking for overall knowledge. Kind of a 101 type thing. Jargon, principles, basics etc. Thanks

NYVS

I have a year subscription to Lynda.com which offers tutorials from specific software editing to web design. In preparation for my move to the West. I'm working on Avid Media Composer and it s pretty good.

Although not all of them are presented as well. In many cases, you can do just as good on youtube for free. But with a pay subscription everything is indexed and you can get the assets and follow along.

As for books, there's too many to list with more details. What aspect of filmmaking? Writing? Lighting? Composition? General? That's a lot of stuff, but there's book on all of these and more...much more.

[PanasonicYouth]

Basically I want to do a one take short(5 minutes long), but the idea is wholly dependant on the location. And the location costs quite a lot to hire out for one day so I'm saving money for only the shoot day. Therefore we can't really do rehearsal apart from on the day.

Luckily, the main roles only really require walking around the location (with a predetermined emotion) minor dialogue. But I think the difficulty may be the cues i.e when one person is supposed to come in and when someone is supposed to do one specific action. I was thinking the best option would be to try and drill the whole choreography within 2 hours of rehearsals on the shoot day.

There is no sound and I will be using a soundtrack so I could attempt telling the actors what to do as it is happening.

Anyone got ideas on how to make this run smoothly?

In my beginning Cinematography class, one of our assignments was to do a long take. It was one of my favorite things to shoot in film class. Unfortunately, I don't have it on video. We recorded the footage on a Mini DV and I never exported it for personal use. It's either in the trash or lost in my teacher's box full of student projects collecting dust.

Anyway, since the long take assignment didn't require sound or dialogue, I walked my two actors through commands, primarily numbers. One of the most vital parts had our main character leaning against the end of a wall with a medium shot of him. I wanted him to lean and peek over to reveal a hallway with a second character searching for him, and retreating back to cover against the wall. In order to achieve this as smoothly as possible with motivated camera movements, I counted to four seconds with my actor. Every second meant an action:

1) His back is against the end of the wall, eager to check what's around the corner.
2) He leans over to see the hallway and the camera does a small tracking movement to stay behind him. Sort of like an over the shoulder at this point. When he moves, the camera moves. When he's stationed, so is the camera. His leaning movement motivates the camera to follow (Think of Metal Gear Solid or any videogame where you can peek around corners under cover).
3) He stays in this position for one additional second. We want the audience to see all the information that's being given to them onscreen right now.
4) He retreats back to the wall, where we started from in the beginning of the count. As he's moving, the camera follows him and we're back where we started.

Very simple movements but with the use of number commands, my actor has an easier time on anticipating what to do next. Same with the camera.

[Foze]

Thanks Panasonic Youth and Brake. Will take both points on board.

But I'm starting to question how I'm going to get the fashion film made. Right now everything is going to cost 600 pounds of my own money pretty much.

Right now, I'm trying to find someone to alleviate the costs. I approached the fashion designer I wanted to use and said just give me your designs and I'll cover everything else but looking at it now I think I'll need to get another fashion designer on board to chip in with money.

Someone else I spoke to said I would be better off making it a short film with fashion elements and then distribute it as a short film rather than a fashion film per se.

That and two of my main cast members may be dropping out 6 weeks before shoot.

So I'm tryna sort this out now.

[KRANE]

Speaking of sound, that's one of the areas in filmmaking that I really find challenging (lighting being the other). I guess that's why either of these are a full-fledged career all in itself. Particularly a sound engineer, which can work for a film company or recording company. That said, I hope we can discuss a little bit more of that here.

I have to say that I'm not particularly interested in becoming a sound engineer, but I would like to know a lot more about it than I do now. Not just adding sound, but mixing. And mixing multi-tracks too.

For example, do you guys do your own sound editing or do you designate it to the sound engineer, as part of your crew? Also, what applications do you use? Is the internal sound editing sufficient, or do you use an external program for more control? For example, Audition, Apple Logic Pro, Garage Band or Pro Tools, etc.

I decided to go with Pro Tools since that's what I was taught but have barely opened the program since that class. What's your preference? And is anyone even interested in Sound Design? They're so many division of filmmaking we could literally take over half the site.

Incidentally, I visited the Pro Tools site and those are some of the most stodgy guys I've ever come across. You need to give them your entire life history before they'll even answer a simple question. I decided to go it on my own. Which is why it took me two weeks just to figure out how to install Pro Tools on a PC.

[brake]

Speaking of sound, that's one of the areas in filmmaking that I really find challenging (lighting being the other). I guess that's why either of these are a full-fledged career all in itself. Particularly a sound engineer, which can work for a film company or recording company. That said, I hope we can discuss a little bit more of that here.

I have to say that I'm not particularly interested in becoming a sound engineer, but I would like to know a lot more about it than I do now. Not just adding sound, but mixing. And mixing multi-tracks too.

For example, do you guys do your own sound editing or do you designate it to the sound engineer, as part of your crew? Also, what applications do you use? Is the internal sound editing sufficient, or do you use an external program for more control? For example, Audition, Apple Logic Pro, Garage Band or Pro Tools, etc.

I decided to go with Pro Tools since that's what I was taught but have barely opened the program since that class. What's your preference? And is anyone even interested in Sound Design? They're so many division of filmmaking we could literally take over half the site.

Incidentally, I visited the Pro Tools site and those are some of the most stodgy guys I've ever come across. You need to give them your entire life history before they'll even answer a simple question. I decided to go it on my own. Which is why it took me two weeks just to figure out how to install Pro Tools on a PC.

I've been considering learning protools. A few colleagues of mine use protools. Check out izotope rx4 plugin (also stand alone), very powerful.

At the moment all I do is EQ in sony vegas.

[KRANE]

I've been considering learning protools. A few colleagues of mine use protools. Check out izotope rx4 plugin (also stand alone), very powerful.

At the moment all I do is EQ in sony vegas.

SV is about the only editing software I've never experienced. However, their reputation goes way back for its top rated audio capability.

I manged to secure an academic version of PT 11 and learning it is one of my New Year's resolutions. That and Resolve. If my brain doesn't explode first, I should have a good chance in securing a position on somebody's staff. Please help keep my honest.

[brake]

Please help keep my honest.

What do you mean?

[KRANE]

What do you mean?

LOL, ask me questions about it as the year progresses. And test me to see if I'm still on track.

[brake]

LOL, ask me questions about it as the year progresses. And test me to see if I'm still on track.

Oh, yeah, right. I thought you meant make sure you don't illegally download plugins/applications

[KRANE]

Fusion 7 now free and coming to Mac: complete version of the After Effects and Nuke rival given away by Blackmagic.

Digital Arts

No more excuses.

[MarkA15]

Has anyone worked with Canon's Cinema line? Specifically the C100. I've been looking for a new camera for both short films and music videos and I think I have found my match. I'd have to depart from my BMPCC though and I'm going to miss the film look, ProRes, and dynamic range. The C100 Mark II is the only one that fits in the budget that has what I need, better dynamic range than a DSLR, 60fps at 1080p, good battery life, and lightweight. The Blackmagic URSA would have been THE camera but the 15-pound body was a huge turn off even though it has everything else I need. The lightweight of the C100 Mark II will fly easily on a gimbal.

Other cameras that were in consideration was the Sony A7S and Panasonic GH4. I played with my friend's A7S in S-Log2 and I didn't like how much correcting I had to do to get a decent look. I'm a fan of Canon's colors straight out the box, and it's pretty good in low-light as well (not godly like the A7S). I'm not a big editor either. I'm going to eventually get an Atomos for the C100 Mark II. Some of the music video directors I look up to use REDs and one in particular likes the GH4, I'm not too big on the GH4 and I can't afford the RED. Shane Hurlbut used C500's for the Need For Speed film but I want to see more work using these Canons. It seems like it's a match made in heaven, it's just hard looking for films that used that camera. It really just might be a documentarian's camera

[KRANE]

Has anyone worked with Canon's Cinema line? Specifically the C100. I've been looking for a new camera for both short films and music videos and I think I have found my match. I'd have to depart from my BMPCC though and I'm going to miss the film look, ProRes, and dynamic range. The C100 Mark II is the only one that fits in the budget that has what I need, better dynamic range than a DSLR, 60fps at 1080p, good battery life, and lightweight. The Blackmagic URSA would have been THE camera but the 15-pound body was a huge turn off even though it has everything else I need. The lightweight of the C100 Mark II will fly easily on a gimbal.

I have not, but did briefly entertain and research the C100. The typical light weight rig can still accommodate weights up to 9.5kg (20lbs~). Not something you can handhold (I can only hold my 5D for a couple minutes), but well within reason if you have the vest.

Other cameras that were in consideration was the Sony A7S and Panasonic GH4. I played with my friend's A7S in S-Log2 and I didn't like how much correcting I had to do to get a decent look. I'm a fan of Canon's colors straight out the box, and it's pretty good in low-light as well (not godly like the A7S). I'm not a big editor either. I'm going to eventually get an Atomos for the C100 Mark II. Some of the music video directors I look up to use REDs and one in particular likes the GH4, I'm not too big on the GH4 and I can't afford the RED. Shane Hurlbut used C500's for the Need For Speed film but I want to see more work using these Canons. It seems like it's a match made in heaven, it's just hard looking for films that used that camera.

Only the C500 is the true cinema line camera. Have you checked out some of the comparisons of the C100 vs 5D? You might be surprised how close they come in quality. Although the 5D offers much more complexity to get to what would natively come out of the C100. Even more so when you add the Atomos. Then again, you have to add that extra cost too.

In any event, the C100 is at least a true video camera. The combo was on my list, for a short while. But decided the versatility of the 5D was more economical at the time. Still, if I had it to do all over again, I'd most likely make the same decision. I just couldn't overlook the full-frame sensor. But that may not be as important to you.

It really just might be a documentarian's camera

Documentaries, corporate and weddings. That is the niche that Canon has occupied since their L series cameras. Maybe the new MK IV will have 60fps 1080p?Don't forget to let us know what camera you choose.

[brake]

Mark, the c100 is only 8bit isn't it?

What about Sony? fs700 too expensive?

If I was upgrading I know I would want 4K for the flexibility

[sgttom]

A lot of you guys are way above my level of filmmaking but I decided I'll share my short movie anyways.



Learned a lot since I started this project early this summer. Skip to 4:45 for the highlight of the short if you don't want to bother with the rest.

[KRANE]

Mark, the c100 is only 8bit isn't it?

Yeah, its 8 bit. But if he adds the Ninja those results would be greatly improved.

What about Sony? fs700 too expensive?

If I was upgrading I know I would want 4K for the flexibility

Who wouldn't? But at this stage it's still hella expensive unless you have the client base to support it. And its not like we're going to be seeing it broadcast anytime soon. Don't know about MarkA15 though.

[Mordecai89]

Filmed a small action video over the weekend. Was a lot of fun to do. Pretty much 95% go pro with 2 or 3 static dslr shots

Basic concept was a mix between old action games/movies with over the top deaths and re spawning guards. And lots of card board boxes to fall and flip through lol

Very happy with how the day went, stayed on schedule despite starting late, and finished on time

[Brad_Pitt]

The old thread gone?