Hey all, I’ve been searching for a gaffer over the years but haven’t quite found my go-to person and my projects are starting to get a bit larger where I need someone with a little more experience than my usual guys ( which is sometimes right out of school ).

I’m looking for someone to also build my career with, my projects are getting larger every year and I’m starting to get into feature work with larger budgets.

I have a small light package I run and gun with on productions, I’m not biased to whether you have tons of gear or not, but someone who is confident to light different setups and come with ideas! And easy to get along with of course, and have a great time making films! I also enjoy working with other cinematographers who enjoy lighting as well!

Instagram, website, links to your work, I’ll take anything into consideration! Thanks all!

and I want off this ride

Beginner here, every aspect of filmmaking but especially camera and lights. Shot a trial today. Iphone 18 pro max log. This is raw footage, have not applied any CST. Got totally confused by how to figure out focus and false colors. I am planing to make written notes tomorrow and shoot. This will help me to quickly find the settings. I am watching Black Magic cam tutorials for three days still get confused. Shot at 29.97 by mistake but now I have locked 24.

There is pink color at the door and pale blue inside the house. I thought she was underexposed at the door and over exposed near the camera so I adjusted ISO at half the way. I checked skin color tone in da vinci, it is odd at the beginning but improves as the woman reaches the camera. I guess this is expected and i can think about doing something during post-production.

In the real scene the woman is going to share a kiss with a serial killer and then both are going to walk inside the house. Woman will be wearing bright red; serial killer will be wearing all white. Woman is standing at the door. The couple is sharing kiss a little bit inside the passage.

White balance at 5600k and tint 0. This is raw log video, did not do any grading/cst.

The passage ends into a hall and tomorrow i am going to put the camera across the hall. The reason being that the woman is going to stop and look at the room from left to right because she she feels something is wrong.

We will be reshooting the scene tomorrow. Any suggestions about filming? Anything will help :)

Hey all! So I'm looking for advice. I'm traveling to shoot a "talking head" in a huge event space that has a lot of diffused light coming in from various high windows on the sides. I have a small 3-person crew, and will be renting a lot of grip there, but bringing my lighting kit (1 Amaran 600x, 1 Amaran 300x, 2 220's and 2 150 fabric panels)

We want the shoot to look very natural, as the space is really pretty as-is. I'll likely use a bank of windows to motivate the key light, so I want a key that is large and soft, with a gentle ratio for fill. I also don't want to create a huge setup, as we will need to move it around the space throughout the day. So I'm considering three options:

1. A 5 foot Light Dome on my 300x, and either bounce a little fill in, or use one of the 150s. One stand, easy setup.

2. A "one stand" book light, using the 300x (or 600x if needed) directed up into an angled 4x4' ultrabounce, then through a 6x6 silk. (Might need 2 stands if the 6x6' feels too heavy).

3. An "Umbrella Book Light". This is something I've seen set up on YouTube, but I just don't know how much I trust the sources... Basically it's just using a 6' umbrella instead of the the ultrabounce, but then still pushing through a scrim. It looks light and easy to move.

As the space is large and very evenly lit, I will use an 8x8' commando rag as negative fill on the fill side, and probably another to block out the actual window light, so my key will be doing the actual work. I know don't know if I'll be able to rely on the daylight being consistent.

I'm not super concerned with spill, as the space is just vast, and there aren't any walls behind the subject for a long ways. I imagine a book light might still need to be controlled a bit on the background side.

Soooo... my real question is about the key light - what do you recommend between a large dome, a book light setup, or the umbrella? Is it worth it to go tot he extra effort on a single, seated subject, or it is overkill?

I've done a fair share of corporate interviews, but limited time and crew usually leads me in the dome direction. I have a chance to make a choice now based on what will give me the prettiest and most natural feeling setup, and I want to take it.

And to be fully honest, I don't want to do anything that will make the client think "what is this rinky dink setup" - hence my hesitation about the umbrella. But in the end, what works is what works.

THANK YOU for your input!

I'm a film student interested in creating my first short film. I already finalized the screenplay with my professor and am looking at shooting sometime in December. I can direct, I can write. What I don't know how to do is cinematography. I'm a good photographer, but as I understand it, shooting objects in motion are a lot different than shooting stationary ones. I have been looking all over my school's RTF department for cinematographers and so far have had no luck. I am at the point of considering just doing the cinematography myself in addition to directing, but the only problem is that there are a lot of visual based scenes with hardly any dialogue. Meaning that the cinematography has to sell the story. As a beginner, with only the help of another third year RTF student as a camera operater, do you think it'd be possible for me to sell the look below?

Quiero armar un set de lentes (PL) limpias o “clínicas”, que sean lo opuesto a mis Vespid Primes (cálidas, carácter). Estoy pensando en las Zeiss CP2 por muchos motivos y además me encanta el microcontraste y el “3d pop” que tienen. Ruedo principalmente ficción. Alguien que haya usado ambos sets, ¿son notablemente diferentes entre sí? ¿Alguna opinión al respecto? Muchas gracias de antemano!

Hi everyone, Antoine from altitude.101 here.

We just wrapped up our latest Apple Immersive project for Ford, shot with the Blackmagic URSA Cine Immersive. Because shooting for spatial/immersive formats comes with a unique set of creative and technical hurdles, we put together a 17-minute behind-the-scenes documentary covering the entire production from prep to post.

In the video, we break down:

• How we approached storytelling and framing for an immersive format
• Camera rigging and movement (especially around vehicles)
• Managing lighting and hiding the crew on set
• Our post-production and spatial workflow

The final film is currently playing all week at the Paris Motor Show ("Mondial de l’Auto"), and watching people experience it in the headset for the first time has been incredible.

Since there are still relatively few deep-dives on Apple Immersive workflows out there, we wanted to share as much of our process as possible. Happy to answer any questions you might have about the shoot, the gear, or the workflow!

Hi! I'm a producer on an experimental super 16mm short film with a director/dp looking to create a unique look for the project. We tried to get a camera test, but the only rental house in our city with a 16mm camera (the Arri 416 specifically) wasn't availible on the dates we wanted to test.

Let's say this test was looking to try out the DZO Pavo 2x anamorphics. What kind of image does that produce? Is a super 16mm frame even compatible with anamorphics? Does anybody have any experience trying this out, or know of any online tools we could use to help us visualize this, in lieu of not being able to conduct a camera test? I know the team wanted to try out some fisheye/telephoto/telephoto zoom lenses, but those feel easier to pre-viz than the anamorphics do.

Thank you for any leads!

Hi all! Full-time professional photographer here, looking to figure out where to even start when swapping over to the cinema world. Currently just looking to dip my toes in and see if I like it more than my current gig (sports photography and media management- good money but not particularly exciting). And I'd love to start dabbling in more creative film projects during my off season.

Though I can take a pretty decent photo, my video skills and settings are horrible and entirely self-taught (and should only be viewed on social media by people who don't know any better). What are some of your fave youtuber/blogs/instagrams that you use to learn the ropes of the camera side of cinematography? I shoot nikon currently with some thought of doing film eventually if that has any impact!

Once I've sorted that out, how are people looking for their crews these days? Are Facebook groups still the way to go, or is there a better avenue? Definitely hoping and expecting to work a few different roles before actually landing a DP gig- don't worry!

Thanks for any and all advice!

Our team shot this branded film on an ARRI Alexa Mini (S35) with Lomo Illumina MK II primes: 18mm, 25mm, 35mm, 50mm and 85mm.

The main dialogue scene was filmed inside an old Rover carried on a low-loader through Freeman Street in Grimsby. The setup gave us controlled movement and allowed the cast to focus on their performance, but camera positions and lighting control were limited. As the vehicle changed direction, hard sunlight, reflections and exposure could shift noticeably between angles and passes.

In the grade, we tried to move the digital material towards the texture and density of 35mm without making it feel like a heavy film-emulation effect.

I’d appreciate feedback specifically on whether the sunlight continuity holds together and whether the grade feels cohesive throughout?

And yes, former Grimsby Town captain James f&@*ing McKeown really is on sound. Please throw it a like on Vimeo if you enjoyed watching it: https://vimeo.com/1227679077

Beginner here, i guess i took up a complicated scene for my first recording

I am shooting a scene where a woman walks from the door towards the camera. There is light pink light at the door and blue light behind the camera.

I am going to do white balance, color chart, ISO etc when the woman is at the door. Do I need to do anything while recording else to make sure color look right? absolute beginner here, all the camera settings are driving me nuts.

In films like fallen angels, the coloured lighting looks so natural and doesn't overly undermine the actual colours of the set.

But when I try to use coloured lights, it often becomes monochrome and I start losing all the real colour in the scene where the coloured light hits.

What topics should I research to learn why and how coloured lights can look so natural in movies like fallen angels?

Hi everyone, I am a filmmaker and director, I work mainly with clients like Adidas and Red Bull and I desperately need some camera advice.

The problem: I own a Komodo X RF Mount and a Lumix S5iix, I share two EF lenses between the two.
I am not satisfied with the optical performance (and autofocus performance on Lumix) of the Canon EF.
I need good lenses, a clean 4k 120, a gimbal friendly camera, with good autofocus.
I want to keep my Komodo.
I want to sell the Lumix and the Canon EF lenses.

The plan: buy a C50 or an R6V with RF 20-50 f4 or RF 24-70 f2.8. The RF lens is a plus cause I can even mount it on the Komodo if I need.

The fear: colleagues tell me that Sony is so established in the industry that it would make more sense for me to get an FX5, but damn, it costs. They say the extra cost is paid off by extra opportunities that Sony cameras will offer me.

So far I never felt the need for a Sony to find more work, but it’s true that everybody has a an FX3 or FX6, followed by Red Kx, at least in Milan where i live and work.

I mainly shoot advertising and documentaries.
You can check my stuff here: matteogalvani.com

iPhone 13 btw

Disregard the black bar on top of the wide. Disregard that the woman in the closeup is on the wrong side of the frame—I believe she should be on the right side of the frame. And disregard that the backdrop for the closeup is different from the blank white wall in the wide. That setting couldn't be changed.

I had to shoot this with only two cameras and two lights. And I had to shoot with this backdrop for the wide. I had a closeup on the woman who was doing the most talking. She would constantly be looking back and forth between the woman and the wide camera. It's not looking right to me. How should've I set this up better in terms of positioning the women and the cameras?

I've been shooting mostly indoor shorts with a BMPCC 4K for a couple years and planning some outdoor shoots in the near future, which will require using IRND filters. Running the numbers, I might as as well just sell my 4K and upgrade to a 6K pro that has internal ND filters.
Lenses, lights and other gear can be used later on, but considering modern cinema cameras have built in ND filters, is there a reason to spend money on ND filters? (specifically talking about 4x5.65 style filters)

Hey all, have a voucher from cvp from a previous course i did last year.
Looking to spend the voucher this month.

Not sure what to get, should i get an additional ND system + rota pola (my camera has internal nd) or should i get a filter? (anything like a black satin / gg / promist etc)

Mainly shooting at indie level, shorts and music videos for the most, odd lower end paid job like a smaller commercial.

Any opinions?

https://cvp.com/product/tiffen_4565multrottravnd (ND and rota pola system)

Hey! I’m a filmmaker, concept artist, and self-taught colorist.

This is the more refined version of the film powergrade/node structure I built while grading my first feature film, which was delivered for a theatrical release.

The goal of making this was not film emulation,but to retain the things I love about the film look,, namely the color depth and contrast curve. I wanted to maintain a more “real-life” representation of the hues, limiting strong hue shifts that is standard in film colors.

I wanted a neutral starting point that would let me build and push custom looks quickly and efficiently, without things falling apart or getting garish.

Above, I have recreated a few shots from some of my favourite films to explore and to help visualize, the different looks I could produce.

Long story short, I’d love to collaborate with you on coloring your next project and make some cool stuff together!

I’m currently looking to work on short-form projects (under 30 mins) — music videos, short films, YouTube content, ads, and more. Professional delivery standards, always.

I prefer project-based pricing, with rates starting at $500, depending on the project.

If you dig my work, drop me a DM and let’s talk!

Hey all!

To cut a long story short, I'll be heading to Kodak at Pinewood at some point over the next couple of weeks to create a little BTS with some shorter Q&A's.

As well as coming up with my own questions, and questions that are beneficial to the teams I'm working for, I figured I'd ask what the wider filmmaking community would want to ask, because I have no doubt there'll be a bunch of questions that I wont think of, and it's a good opportunity to get some real cool insight on some of the processing, scanning and archiving of all sorts of stuff that comes through the door.

Something as simple as 'how do you process the bleach bypass, and how popular is it?' to 'DoP's are coming majorly from a digital background, how much guidance and prep do you offer DoP's who are shooting film for the first time'.

Reposted from r/Filmmakers

This is a filmmaking tutorial I created about filming during golden hour. I'm a professional photographer and filmmaker, and I enjoy combining educational content with cinematic visuals to make filmmaking more approachable and entertaining. I really enjoy teaching filmmaking and finding ways to combine educational content with beautiful cinematography to make the videos both informative and entertaining :)

The response so far has been really encouraging and I’d love to hear some constructive feedback from other filmmakers here. I’m particularly interested in how I could improve my approach to teaching, storytelling, and keeping the videos engaging. If you have a moment to watch it, I’d really appreciate hearing your thoughts!

I’ve been learning and experimenting (fucking up) with my Sony A7IV, trying to figure out S-Log3.

Just to get that out of the way, I shoot in 4.2.2 10-bit, so this isn’t the issue.

Shot a scene today outdoors (in the woods). Set zebras to 95 and dialled my ND filter until the brightest part of the sky juuuust started showing a zebra.

Settings are 1/50 24FPS 800ISO.

Came home and checked the footage. Lit fine, but shadows are noisy.

So, do I understand correctly that in order to have clean shadows, I needed to blow out some of the sky? Or am I doing something wrong?

If i have $40.000 should i get Sony Venice 1 used or RED Weapon Monstro used for indie filmmaking?

Ok so background, I’m a complete beginner filmmaker. Before someone says it I know a camera is only as good as the person behind it, which is why I’m not really here to argue specs, but functionality. I have some knowledge acquired from being on projects in front of the camera, but very little. My main goal is to just have fun making little short films just to get my ideas out there. I want to stop completely relying on others, and start fulfilling my own vision making my own stuff. Doing some research I’ve landed on the GH5S. Biggest constraint for me right now is budget, and I can find these used near me anywhere from $400-$700 which seems crazy to me. Especially because I don’t think the potential drawbacks are that critical. I’ll 99% of the time have the camera on a tripod or a gimbal, as a lot of these earlier projects I have envisioned are with just me. So I’m not too worried about the lack of IBIS. The autofocus I don’t think will be such a big deal for me either. I want to learn different focus techniques anyway and I think doing it manually more times than not looks better, or at least more intentional. The low light performance is a big one for me, I tend to gravitate towards darker/moodier vibes, and a lot of what I have planned is very much that. Also the ability to shoot 10 bit and log is fantastic. This obviously really expands the color grading potential which is my personal favorite aspect of the work done behind the camera. With all of this said, being aware of my lack of experience, I feel like I’m approaching this all completely naively. And I’d like to know if there’s anything that I’m failing to consider that could potentially be a huge blunder for my specific use case? Are there other cameras at this price point that I should be considering? Not so much worried about things that could be remedied with knowledge and skill. But more so things that this camera may be missing that would lead to undesirable results regardless of skill set. Like if it couldn’t shoot in 10-bit or log.

Btw, im a total amateur. I don't know a ton about lighting but I heard its bad to have two different kinds of lights? I'm a therapist who is trying to film some content, in the form of an interview.

I had two Westcott 45W Dimmable Daylight LED bulbs and one of them broke. Westcott doesn’t sell them anymore, and every attempt I’ve made to find one online has come up empty.

My setup is two umbrellas on stands, one light per person, for interviews with two people seated across from each other. The Westcott runs pretty bright, so I usually dim it with its remote.

So I’m stuck between two options:

1. Buy one bulb from a different brand and pair it with my remaining Westcott. The new bulb probably won’t work with my Westcott remote, and I’m not sure how well the color and brightness would match.
2. Buy two matching bulbs from another brand and retire the Westcott. The lighting would be consistent, but I’d lose the Westcott remote unless the new bulbs come with their own.

Here is the bulb im talking about
https://www.bhphotovideo.com/c/product/1538308-REG/westcott_345_45w_dimmable_daylight_led.html