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actingschool · 2 years ago

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Exploring the Art of Cinematography: A Journey Through a Cinematography Course

Introduction

Photography is often called "the art of visual storytelling," and for good reason. Art is taking and using images to evoke emotions, convey messages and transport viewers into different worlds. If you’ve ever been captivated by the stunning visuals in a movie or television show, you’ve seen how a filmmaker works. The role of a photographer is important in the filmmaking process, and learning the art and science of photography is an exciting and rewarding journey In this blog we will reflect on what a filmmaking course entails, why it is valuable and how it can be what it satisfies within the film and television industry. Fundamentals of photography Before delving into a photography course, it is important to understand the basics of photography. Photography is about choosing cameras, framing shots, placing lighting, choosing camera movements, controlling the mood and tone of a scene through visual elements like composition, color, depth of field etc. It is all about translating the director’s vision into a visual language that connects and relates with the audience. Why study photography? In-depth knowledge: The Photography course provides comprehensive training in the technical aspects of filmmaking, including camera operation, lighting techniques and post-production techniques and you will learn how to use camera systems use types, lenses and props to capture the image you want. Artistic Explanation: Photography is as much an art as a science. Photography classes help you develop your creativity and understand the process To use visuals to tell a compelling story. You will explore the aesthetics of framing, composition, color theory, and visual storytelling. Interagency: Many photography classes are taught by experienced professionals who have worked in the film and television industry. This gives students valuable insights and opportunities to build networks in the field. Hands-On Experience: Practical experience in photography is essential. Most courses include hands-on activities, where you will work with real equipment and collaborate with fellow students to create short films or documentaries. This experience is invaluable for building your portfolio. Equipment acquisition: Photography courses typically provide standardized camera and lighting equipment, enabling students to master the tools of the trade

Study courses A typical photography curriculum covers a wide range of topics, e.g. Camera Operation: Learn how to use different camera settings, lenses and accessories, and master camera movements, such as pan, tilt, dolly and steadicam Lighting: To understand the principles of lighting and how to create moods and atmospheres with lighting systems. Composition: The art of exploring portraiture, providing visual balance and guiding the viewer’s gaze through the image. Color Theory: A study of the psychological effects of color and its use to enhance storytelling and evoke emotion. Post-production: To have knowledge of the post-production process including color grading and editing to ensure the final product matches the director’s vision Visual Storytelling: Develop the ability to translate text into visual storytelling, making creative decisions to enrich the story.

Employment opportunities Graduation in photography opens up career opportunities in the film and television industry. Graduates get jobs e.g. Cinematographer: To capture stunning footage for films, TV shows, commercials and documentaries. Camera Operators: Responsible for operating the camera during production, ensuring framing and editing between shots. Lighting Technicians: They specialize in the installation and maintenance of lighting equipment to achieve the desired look of the space. Directors of Photography (DOPs): Lead the camera and lighting department, collaborating closely with directors to bring their vision to life. Gaffers: Manages the electrical and lighting aspects of a production, working closely with the DOP.

Artists:-Skilled in color correction and grading during the post-production phaseConclusion For anyone interested in the art and science of visual storytelling, enrolling in a photography course is a transformative experience. It gives you the technical and creative skills you need to succeed in the competitive world of film and television. Whether you want to be the next famous filmmaker or play an important role behind the scenes, studying film can be the gateway to a fulfilling and dynamic career in the entertainment industry so, if you have ever dreamed of bringing content alive through lenses , consider taking that first step.

If you want to join still photography course you can visit to our website

RSFI

You can visit to our institute RSFI (Ravi Sarin Film Institute), in Noida Film City , sector -16 , Mindmill Corporate Tower.

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path-of-my-childhood · 4 years ago

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Rina Yang on shooting Taylor Swift’s All Too Well: The Short Film

By: Tom Williams for British Cinematographer Date: November 26th 2021

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What interested you most about the project? I hadn’t shot a love story like this before. When speaking to Taylor about how she wanted to approach the visual language of the film, as well as listening to the track and the casting of Sadie Sink and Dylan O’Brien - which felt like great casting - made me really want to be part of the project.

How was it working on such a personal film to director and songwriter Taylor Swift? We had an amazing time working together, we trusted each other and that helped us move quickly, while not compromising the quality. She’s very collaborative and thorough, her creative instinct onset is impressive. She knew exactly how she wanted the film to play out shot by shot, and walked me through how she saw the edit before we shot it. Some scenes we just knew what we wanted to get out of it emotionally, and we’d block out the scenes with the actors and figure out the way to shoot on the day, and the others were pre-planned shots.

How did you collaborate with the director? We exchanged visual references and thoughts on lighting tones in prep. She sent me videos and films and I put together a document with some suggestions on framing and shared images which I thought would contribute to the feeling of the film, to which she shared detailed comments on each one that stood out to her. This really helped me to be on the same page as how she saw the film, and to shape our visual approach.

Due to its length and narrative focus as a short film, did you approach shooting it differently to others you have shot? Taylor had written beautiful short scripts with dialogue for our key scenes, that was great inspiration to figure out how to approach the piece. I did move the camera a lot more than I would have normally - thinking how the shots would flow with the track. But I kept asking my steadicam operator to hold the shots here and there, rather than keep gliding. I wanted it to be like how I’d shoot a straight up narrative film, for us to be able to hold and take in the actors’ performances, and to have edit points.

Taylor also wanted the camera to be fluid rather than doing conventional coverage, and we went with the chemistry of the actors rather than breaking up the scene into rigid shots like; single/single, over shoulder and a 2 shot. We’d move around with Steadicam and get it all in a few long takes. I like it when the camera is discovering and experiencing what’s happening in front of us and reacting to it, it worked well for this story and the emotional impact I wanted to convey with how the shot developed.

Was this project particularly exciting due to the visual references and teases Taylor Swift has become known for? I wasn’t too aware of this, but now I know some since the video has come out! But that wasn’t what solely interested me in the project. I wanted to be part of it because of the director, actors involved, story, and the 10 minute track. Although the song should feel long, it didn’t. It really holds your interest because of the story telling aspect.

Did you feel any added pressure or excitement due to the passion of the Taylor Swift fanbase? When it comes to fame and celebrity I’m not the best person to ask: I live in a classic DOP bubble. Because I often shoot projects back to back, I sometimes have to ask the internet who someone is! Although I knew who Taylor was, I didn’t quite realize the magnitude of her popularity, so I didn’t feel that kind of pressure. Having worked with her I get why though. She’s thoughtful, talented, and fun to be around. No wonder the fans love her!

Where did the decision to shoot the kitchen argument scene handheld and as one shot come from? And, was this the most challenging scene to shoot? We always thought that the kitchen scene felt like a handheld scene. The one shot wasn’t planned, and I didn’t know it would be used as a long one-r. But I’m so happy with how it turned out. It was mostly improvised and I was operating and reacting to Sadie and Dylan as their interaction unfolded during the take. It’s one of my favorite scenes, and I absolutely love that Taylor decided not to cut away, it’s much more powerful that way.

What camera package (and lenses) did you use to suit the production? We used the 235 for handheld and steadicam, and Panavision MXL for dolly work. Lenses were Panavision Primos, with 11:1 Primo zoom. I also tested the Eyemo (tiny 35mm camera made in 1925) in London before I flew out to NYC. I liked the intimacy you feel with Eyemo, and I used it for one of the scenes. But unfortunately, the mag kept jamming so I only got to shoot two or three short bursts. Still, one of them made the cut, including the moment it jammed, I always like those little happy accidents.

What was your proudest moment throughout the production process? When we got the first 3 days of our rushes back on the last day of the shoot. We were shooting over the weekend so we couldn’t get the dailies from the lab till then. Taylor and I were ecstatic when we saw what we shot so far, and I was also relieved it was all there. We shot exterior scenes on Ektachrome and that stock is unforgiving if you get the exposure even slightly wrong. I’d shot with it for the new season of Euphoria so I was familiar with the limitations, but even so you never rest easy until you’ve seen the rushes. You only have 2 stops over and 2 stops under if you want to retain some info - but if you get it right it’s so worth it and it’s such a beautiful film stock. I miss shooting on different film stock like the old days when we had Fujifilm and other stocks to choose from, so it’s great to see Kodak are making Ektachrome again.

#thanks anon for sending me this =)#Rina Yang #article #about taylor #taylor swift #mv director #all too well #red album #re-recording #music video

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refocusedmedia · 5 years ago

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AYIA 'Easy' from Salomon Ligthelm on Vimeo.

The Ancient Narrative - Adam and Eve - the Tree of the Knowledge of Good and Evil - the Forbidden Fruit - that Tempting Icon. The promise of connection and transcendence. But it’s a mirage at best - corrupting and distorting - yet with unknowable power over us - in it’s attraction and it’s promise of how it might enrich our lives. It’s a bad replica - and today with everything that’s happening around us, we are extremely aware of its deficiencies - it’s inability to replace the REAL. What we crave - it can’t fully give us. Connection and transcendence has to be experienced in the seen, felt and heard of real human contact.

Produced By...... All Expanded, Section80 Executive Produced By...... Artjail, Section80, Film Supply, Stink Executive Produced By...... Cabin, Division, Soft Citizen

Director...... Salomon Ligthelm Cinematographer...... Shabier Kirchner Executive Producer...... Emi Stewart Executive Producer...... Katie Lambert Executive Producer...... Marco Orlando Executive Producer...... Chris Dodds Production Manager...... Jon Melton Producer...... Luigi Rossi

Production Designer...... Madison Hatch Art Director...... Steven Killian Set Dresser…… Kit Sheridan Set Dresser....... Tommy Mitchell

Actor…… Anders Gran Actress…… Yueyao Li Dancer...... Dale Ratcliff Dancer...... Yiannis Logothetis Dancer...... Jesse Kovarsky Dancer...... Paul Zivkovich Dancer...... Quaba Ernest Dancer...... Leo Hishikawa

1st Assistant Director...... Andreas Villaggio Production Coordinator...... Francesco Rizzo

Choreographer...... Amy Gardner

HMU Artist...... Ashley Disarro HMU Assistant...... Davisha Dadone Wardrobe...... Abby Oliver Wardrobe Assistant...... Abigail Klitzing Costume PA...... Esther Fonse

Stunt Rigger...... Mike Matera Stunt Rigger....... Scott Kelly Stunt Rigger....... Alexa Marcigliano

Prod/camera Truck PA...... Mike Alliegro G&e Truck PA...... Chris Jackson Driver PA "Van C"...... Emery Schiffraw Driver PA "Van B"...... Kerry Hempel Driver PA "Van A"...... Alec Battistoni Set PA...... Drew Palmer

1st Assistant Camera...... Evan Walsh 2nd Assistant Camera...... Gabriella Aguirre Loader...... Greg Howard Steadicam Operator...... Calvin Falk 2nd Unit DP...... Mobolaji Olaoniye Gaffer...... David Mccabe Best Boy Electric...... Brad Burke Key Grip...... Otter Moore Best Boy Grip...... Larry Cerpas

Editorial...... Cabin Editorial Editor...... Sam Ostrove - Cabin Editorial Additional Editing...... Salomon Ligthelm Editorial Producer...... Carr Schilling - Cabin Editorial

VFX and Post...... Artjail ECD/Owner...... Artjail - Steve Mottershead EP...... Artjail - John Skeffington 2D Lead...... Artjail - Christoph Schroeer 2D Artists...... Artjail - Dayung Jo, Kyle Andal, Gerard Andal, Emily Bloom, Andres Kirejew, Alex Shahviri, Andrew Thiessen 2D Artists (Con't)...... Artjail - Molly Intersimone, David Tate, Mark Yfantidis, Daniel Beleski, Chris Turner, Marcus Wood, Fred Kim 3D Lead......Artjail - Ross Denner 3D Artists...... Artjail - Ben Elliot, Christina Ku, Sandor Toledo 3D FX......Artjail - Georgios Cherouvim Senior Producer...... Artjail - Perry Tate VFX Supervisor…… Artjail - Ross Denner Additional Post...... Veli Color...... Artjail Colorist...... Artjail - Clinton Homuth Galaxy Shot......Tyler McGrath Depthkit DP...... Cory Allen

Sound Design (Teaser)...... Salomon Ligthelm Sound Mix (Teaser)…… Marcelo Baldin (Combustion) Sound Design (Film)...... Salomon Ligthelm Sound Mix And Additional Design (Film)…… Defacto Sound

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wilddragonproductions · 2 years ago

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Washington DC Livestream: How to be a Steadicam Operator

Are you looking to work as a Steadicam operator for Livestreams Washington DC? If so, you'll want to know about the day rate for this type of job. This blog post will provide an overview of what it takes to be a Steadicam operator for Livestreams in Washington DC and how you can maximize your earning potential. We'll also discuss the current day rate for these positions and how you can negotiate for a higher rate. Read on to find out more about working as a Steadicam operator for Livestreams in Washington DC.

What is a Steadicam operator?

A Steadicam operator is a professional camera operator who uses a specialized camera mount called a Steadicam to produce smooth, stable shots while moving. They are typically hired to film television shows, movies, commercials and other video content. Steadicam operators must have an intimate understanding of their equipment in order to achieve smooth, consistent motion. In addition to their knowledge of the equipment, Steadicam operators must also have excellent physical coordination and strength in order to carry the heavy camera mount for long periods of time.

In order to create professional-looking shots, Steadicam operators must pay attention to the entire frame of the shot and be prepared to adjust the camera’s position quickly as needed. They must also have good communication skills in order to work with the director, cinematographer and other crew members. As with any camera operator, Steadicam operators must also be familiar with lighting, framing and angles in order to create visually interesting shots.

The skillset of a Steadicam operator is highly sought after in the entertainment industry, and they can often command high day rates for their services. The job of a Steadicam operator can be physically demanding but highly rewarding at the same time.

What are the requirements to be a steadicam operator?

Becoming a Steadicam operator requires a combination of physical strength, endurance, and technical skill. To get started in the field, one should have experience operating video cameras, be familiar with the specific equipment used for a Steadicam, and understand the basics of camera movement.

Physical fitness is key for success as a Steadicam operator. The job requires standing for long periods of time, carrying heavy equipment, and having the dexterity and coordination to move the rig quickly and accurately.

In addition, a steady hand is essential for achieving smooth shots. Practicing with the rig and getting used to its weight will help develop the skills necessary to maintain a steady hand while operating the rig.

Finally, it is important to keep up with new technology and trends in the industry. Investing in professional training courses, keeping up with news in the field, and attending industry conferences are all ways to stay ahead of the game and stay competitive in the field.

What is the average day rate for a steadicam operator in Washington DC?

The average day rate for a Steadicam operator in Washington DC can vary significantly based on the production, but generally, the rate is between $400-$600 per day. Rates may be higher or lower depending on the type of production and the amount of experience the operator has. Additionally, rates may differ if the operator is providing their own equipment, such as a camera or tripod. Some operators may also charge a setup fee if they need to configure the equipment before shooting.

Generally speaking, experienced Steadicam operators tend to command higher rates than those with less experience. It is important to note that the day rate includes both the operator’s time and their equipment rental fee. Experienced operators may charge more because they have more advanced skills and can get better results with the equipment.

For those looking to livestream from Washington DC, it is important to make sure that the Steadicam operator is familiar with the local area and can navigate around the city efficiently. They should also be able to capture high-quality footage with minimal movement so that the livestream looks professional and dynamic. When booking a Steadicam operator, always ask for references or previous work to get a better idea of their level of expertise.

What are some tips for being a successful Steadicam operator?

1. Practice makes perfect: Practicing with your Steadicam will help you become more familiar with the equipment and how to maneuver it for the best shots. Working on mastering different moves, such as tracking and panning, will help give you an edge when it comes to working in the field.

2. Know your camera: Familiarizing yourself with the camera you’ll be using is crucial for a successful Steadicam shoot. Make sure to get to know the different settings and modes and how to best use them for your particular shoot.

3. Be prepared: Knowing what to expect ahead of time can help you better prepare for the day. Talk to the director and crew about what type of shots are expected and what kind of environment the shoot will take place in. This way you can make sure to have the right stabilizer, weight, and accessories on hand for the shoot.

4. Don’t rush: Taking your time to set up each shot is important in Steadicam operating. Take your time and pay attention to every detail so that your shots are as smooth and steady as possible.

5. Use the right stabilizers: Not all Steadicams are created equal, Livestream Marylandand having the right type of stabilizer is key to getting the right shots. Investing in quality stabilizers that can handle heavier cameras will help ensure that your shots look professional and fluid.

Following these tips can help make sure that you are successful as a Steadicam operator in Washington DC. With practice and preparation, you’ll be able to deliver the perfect shots for any production.

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2nd-rate-film-school · 7 years ago

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Hi! I'm a high schooler with a passion for film who hasn't actually filmed anything yet. I'm planning to get started by just filming stuff and gaining experience over time. I want to buy gear (camera, lights, etc) so I can get started but it's an expensive investment and I'm unsure what I should get. Do you have any ways to figure out which gear is good for me?

Hello @jeffreydahmerofficial

There are lots of options when it comes to gear and it can be a bit of an investment. So I have put together a starter kit with some gear breakdowns, recommendations, and prices. The prices listed are if you are purchasing brand new equipment. You can most likely find used equipment or older models that work just as well for a lower price. In addition, some miscellaneous gear you can make yourself (dollies, steadicams, light bars…), if you are willing and able to put in the time and effort.

Film Gear Starter Kit

Cameras

DSLR - digital cameras are great starter cameras because they are cheaper, small, maneuverable, and produce good quality videos. You can even buy older models to reduce the price and still get good quality (You can also buy used.) Canon and Nikon are good cameras as are some Sonys, but I am partial to Canons. When purchasing, pay special attention to if you are purchasing the camera with or without a lens and what type of lens (I recommend a zoom to start out.)

Some good DSLRs:

Nikon D3300 ($350-500) - great quality image for a relatively low price. A lens is included, so you don’t have to worry about finding one separately.

Canon EOS Rebel T5 ($350-450) - any of the rebel cameras are good, but being newer (but not the newest model) the T5 is a great choice. It has decent low-light capabilities and comes with a zoom lens.

Nikon D5300 ($400-500) - with a better sensor, and a bit more customization opions, this Nikon is a step up from the D3300 with very little change in price.

Canon EOS 6D ($1,200-1,600) - a good substitute for the more expensive 5D Mark III. For the price jump, you get much higher image processing quality and great low-light capabilities.

Canon EOS 80D ($750-1,000) - much like the 6D, it has great low-light capabilities and great image quality, plus a maneuverable viewscreen

Camcorder - In terms of video quality, DSLRs can offer the same image quality as a camcorder at a much lower price. However, camcorders have a lot to offer as well. They have much longer recording time andare built for video, so it is much easier to hold one for long periods of time, despite DSLRs being lighter. They also have built in XLR inputs and neutral density filters, which means camcorder will automatically properly expose your footage without changing the frame rate. (Bonus: They look professional, which is helpful when working freelance.)

Some good camcorders:

Canon XA30 ($1,300-2,000) - a professional/semi-professional camcorder that is easy to use, has good low-light capabilities, a touch screen, and is relatively inexpensive for a camcorder.

Sony HXR NX100 ($1,500-2,000) - an entry-level professional camcorder that has HD quality video, good low-light capabilities, 2 XLR inputs, and 3 focus rings. It’s comparable to the more expensive Canon XF200.

Canon VIXIA GX10 ($2,500-3,000) - a “consumer” camera with professional video quality, this camcorder shoots in 4K. While it lacks some pro features, such as the XLR port, it is very portable and has optical zoom, a touch screen, (You can also get a nice kit that includes a mic, cables, backpack case, LED lights, memory card, and more for under $2,700.)

Canon XF300 ($3,000-4,000) - a professional camcorder great for run-and-gun as well as on a shoulder mount. It has a slightly larger, rotating viewscreen, 2 XLR ports, full manual and full auto modes, built in ND filters, and more.

Misc. Camera Gear

Tripod ($20-200) - a staple for any filmmaker. You can get cheap, lightweight ones for about $20. I recommend investing in something sturdier, so you don’t risk having your camera fall over because of a flimsy tripod.

This a vanguard tripod that is good for DSLRs. It’s lightweight and small, which is great for traveling, but it also can’t support heavier cameras, so when purchasing, look at the load to see if it can support the weight of your camera. You can find Vanguard tripods and similar brands for under $50, but some run a little higher.

This is an example of a heavy duty tripod with a fluid head for easy maneuvering. These tripods are extremely sturdy and can easily support the weight of camcorders and higher-end cameras. You can get a good one of these for around $150-$200.

Cases/Bags ($30-60) - get cases for everything: cameras, microphones, lighting, tripods, etc. You invested a lot into your gear. It is worth it to spend a little more to protect it and keep everything in good condition.

SD cards ($25-50) - I recommend 32GB or higher and make sure they are higher class cards. Otherwise, some cards may stop recording automatically with DSLRs because they can’t keep up with the writing speed.

Steadicam ($30-150) - professional steadicams are much more expensive, but you can find cheap and effective ones for DSLRs relatively easily. They give a cleaner handheld look that improves the look of your film immensely. They even have steadicams for smartphones!

Pictured Above: Roxant Pro Steadicam

Pictured Above: Ceari VILTROX WD-Z Steadicam

Microphones

Shotgun mic - a staple of you want good (or even decent) sound for your film. Unfortunately, a good mic is easily as expensive as a DSLR and requires more gear. With a shotgun mic, you need to also purchase an XLR cable, shockmount, and windscreen. Often it’s cheaper to purchase a kit rather than buy these separately.

Some recommended shotgun mics:

Rode VideoMic ($100-200) - A lower-end shotgun mic meant to be mounted directly onto a DSLR. It has decent quality sound, doesn’t need an XLR cable, has a built in shockmount, and is relatively cheap.

Audio-Technica AT875R ($150-200) - a cheaper semi-pro microphone that requires an XLR cable and phantom power. It’s smaller and has a wider pickup range, making it a good on-camera solution. It can also be mounted on a boom pole or stand. It is better for studio and indoor recording. Although it’s much cheaper, it holds its own against the Sennheiser MKE 600.

Sennheiser MKE 600 ($300-400) - powered by battery or phantom power, this is a good, well-rounded mic.

Rode NTG3 or NTG4 ($350-550) - the NTG series is very popular in the filmmaking world. While NTG3 is arguably better, the NTG4 is cheaper and still produces very good quality sound.

Lav mics - great for wide shots, interviews, outdoor audio and as second audio source. You can hide these guys relatively easily when booming is not an option. The great thing about lavalier microphones is they are relatively inexpensive and you can get good sound with a really cheap lav.

Some recommended lav mics:

Neewer 3.5mm ($5-10) - a super cheap lav that’s great for buying in bulk. It’s a bit harder to hide, but works great for interview videos.

Sony ECMCS3 ($15-30) - this is a sensitive, durable, and inexpensive lav that picks up sound from both sides.

Rode Smartlav+ ($50-70) - this practical, high quality lav hooks up directly to your smartphone, external recorder, or camera.

Sennheiser EW 100 ENG G3 ($700-800) - if you are willing to spend more, these are some of the best wireless lavaliers. They have great quality and can be easily hidden.

External Sound Recorders - crucial if you plan on moving your microphone far away from the camera. Booming is usually done using external sound, meaning the mic is hooked up to an external recorder rather than the actual camera. The sound is synced in post. (That’s why we have a clapper!)

Some recommended Sound Recorders:

Zoom H1 ($50-100) - One of the first Zoom recorders, this is one of the cheapest and most basic options. It’s compatible with micro SD cards, battery operated and has a built-in omni-directional mic.

Zoom H4N Pro ($150-200) - one of the most popular and highest rated external recorders, it’s well worth the investment. It has 4-channel recording, a larger screen, easy navigation, 4 hour battery life, and a built-in omni-directional mic. (I personally recommend this one.)

Tascam DR-40 ($150-200) - with a 15 hour battery life, this 4-channel recorder is a good rival to the Zoom H4N, but it’s extra features make it slightly more expensive.

Misc. Sound Gear

Boom pole ($100-300)- sound quality improves immensely when you are able to put the mic closer to the subject rather than mounting in on the camera. You can get a pole with the cord built in or without, which is slightly cheaper. (Full disclosure: I’ve used a monopod as a mini boom pole before. Not great, but it got the job done. This guy even turned a light stand into a boom pole.)

Headphones ($100-200) - specialized or noise-cancelling headphones so you can clearly hear the audio you are capturing on set and while editing. Earbuds work, but they are far from ideal.

Deadcat ($20-30) - minimizes wind noise, very helpful for outdoor shoots. Available for both shotgun mics and lavs. You can easily get this used for under $15, but new ones are more expensive.

Lighting

Lighting is necessary on bigger shoots, but for freelance and beginners, you rarely have your own lighting outside of a studio. Lights are expensive and most of the time, you won’t be able to use them without a crew (especially outdoors). When you do use them, you will most likely be much more experienced and either working for a company with lighting equipment, or running your own company.

I recommend purchasing a cheap photography lighting set to have some lights, but wait to invest in higher end lighting. A cheap lighting + green screen kit can cost around $100-200(I personally have 2 cheap umbrella lights and while I like them, I rarely use them.) That being said, below are some common types of lights and their general price ranges. Professional brands include: Arri, Lowel, KinoFlo, Limelite, and Ikan.

Softbox/Umbrella Lights ($200-550) - used mostly in studios and photography, they give off, you guessed it, soft light and have florescent bulbs. These are great when you need a quick light source, they are lightweight, and don’t easily overheat.

Can Lights ($500-1,000) - these are the classic lights you see on film sets. They can get very hot, but they are small, lightweight, bright, easy to assemble, and you can use diffusers, filters, and gels to customize the light.

LEDs ($1,000-2,000) - LED lights are the most expensive but also the most useful. They allow you to easily dim the light and change the temperature and they don’t overheat or use as much power.

Misc. Lighting Gear

Gloves ($30-40) - lights get hot and when you need to maneuver them up close, it’s safe to have heat-resistant gloves. Set-specific gloves are more expensive, but you can find cheaper options elsewhere that work just as well.

Bounce board ($5-10) - these can replace a fill light and help add a little more light to your scene without purchasing an expensive and bulky light. You can get collapsible reflector disc with white, silver, and/or gold for the price listed. Poster-board is another cheap alternative.

Gels, diffusers, and dimmers ($20-30) - If you don’t have an LED light, you can modify the color of a light source with gels. They work on any light source from industrial lights to household lamps and are very handy and inexpensive. (The price listed is for a kit of all of these products, but you can buy sheets of any of these for just a few dollars.)

Gaffers Tape ($5-10) - heat resistant and doesn’t leave residue. Gaff tape is used for just about everything on set from lighting, to setting marks, to taping down cords, to labeling.

I hope this helped and didn’t overwhelm you too much! Just a reminder: these are just some options based on what I see used in the industry. There is plenty of gear out there and plenty of cheaper solutions and substitutes for some gear. As always, it’s the filmmaker, not the gear that makes a good movie (but getting good gear is always nice!)

Best,

Jules

#ask box #my filmmaking tips #film gear #film equipment #cameras #microphones #lighting #lights #production #camera department #sound department #g&e

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guttermastersofnewengland · 4 years ago

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Transform Filmmaking Vision in Balancing with Investment

The filmmaker is in control of big-budget movie production. It is the filmmaker’s job to produce his/her vision of the script - promptly and on budget. With his service is a team of film production specialists as the AD team, Line Producer, Unit Production Manager, Production Accountant, etc. all there to help out the filmmakers to do just that. Filmmakers make it their business to comprehend the basic tasks of on-set filmmaking, without being capable of completely lighting a set, or operate a crane, or focusing on a Steadicam, they could ask for further assistance with Grip Truck Rentals Los Angeles to run the production in a smoother way. In the same character, the filmmaker must understand the essentials of Budgeting and the tremendously vital weekly cost report procedure.

Every creative choice entails money. It's just good sense to learn to interpret artistic ideas into costs. Experienced filmmakers know of the weekly cost report. If you're not yet acquainted with it, let me introduce it to you; the Weekly Cost Report constitutes all Producers, Studio Executives as well as Financiers of the expenditure you're expending along with how those costs weigh against the agreed Budget. If you are unable to test or defend, the verdicts made by those who go through that financial 'Report Card' that is, your ability to control your career is considerably destabilized. Discover a comfort level anywhere you can, at the very least, be familiar with what to ask all through the budgeting phase, and have a superior understanding of how you can exchange one cost overrun for cost savings in another area. Know how to put together with general concepts of trading off expenditure to arrive at your vision. While shooting a film you must take everything into account; also with Lighting Rental LA expenses to take care of your production.

The production is supported by the producer as well as any assistants, Art which incorporates the artists, sets, Make-up, props, make-up and costumes, Camera which is who is shooting the scene by the camera, Sound as well as Lighting, which is where your Lighting Truck Rental technicians come in to supply all key rudiments of high standard lighting supplies all production-ready on industry standard. Yours possibly will have more departments tan above list; however that is the basic set up. If you know anybody in the industry that has some type of understanding in filming, shooting, editing, or anything like that, see if you can get their help. If you just starting out you probably won’t discern anyone like that, but it’s always a superior idea, and ask your friends if they achieve. Perhaps they did a little project a short time back you didn't know on the subject of, or prior to you met them. Feel free to ask. The filmmaking business is all about making a successful film on your vision and collaboration of many services is a must.

#Grip Truck Rentals Los Angeles #Lighting Rental LA #Lighting Truck Rental

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inspirationinbadthings · 5 years ago

Video

vimeo

AYIA 'Easy' from Salomon Ligthelm on Vimeo.

Produced By...... All Expanded, Section80 Executive Produced By...... Artjail, Section80, Film Supply, Stink Executive Produced By...... Cabin, Division, Soft Citizen

Production Designer...... Madison Hatch Art Director...... Steven Killian Set Dresser…… Kit Sheridan Set Dresser....... Tommy Mitchell

1st Assistant Director...... Andreas Villaggio Production Coordinator...... Francesco Rizzo

Choreographer...... Amy Gardner

HMU Artist...... Ashley Disarro HMU Assistant...... Davisha Dadone Wardrobe...... Abby Oliver Wardrobe Assistant...... Abigail Klitzing Costume PA...... Esther Fonse

Stunt Rigger...... Mike Matera Stunt Rigger....... Scott Kelly Stunt Rigger....... Alexa Marcigliano

Editorial...... Cabin Editorial Editor...... Sam Ostrove - Cabin Editorial Additional Editing...... Salomon Ligthelm Editorial Producer...... Carr Schilling - Cabin Editorial

Sound Design (Teaser)...... Salomon Ligthelm Sound Mix (Teaser)…… Marcelo Baldin (Combustion) Sound Design (Film)...... Salomon Ligthelm Sound Mix And Additional Design (Film)…… Defacto Sound

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lesterplatt · 5 years ago

Video

vimeo

AYIA 'Easy' from Salomon Ligthelm on Vimeo.

Produced By...... All Expanded, Section80 Executive Produced By...... Artjail, Section80, Film Supply, Stink Executive Produced By...... Cabin, Division, Soft Citizen

Production Designer...... Madison Hatch Art Director...... Steven Killian Set Dresser…… Kit Sheridan Set Dresser....... Tommy Mitchell

1st Assistant Director...... Andreas Villaggio Production Coordinator...... Francesco Rizzo

Choreographer...... Amy Gardner

HMU Artist...... Ashley Disarro HMU Assistant...... Davisha Dadone Wardrobe...... Abby Oliver Wardrobe Assistant...... Abigail Klitzing Costume PA...... Esther Fonse

Stunt Rigger...... Mike Matera Stunt Rigger....... Scott Kelly Stunt Rigger....... Alexa Marcigliano

Editorial...... Cabin Editorial Editor...... Sam Ostrove - Cabin Editorial Additional Editing...... Salomon Ligthelm Editorial Producer...... Carr Schilling - Cabin Editorial

Sound Design (Teaser)...... Salomon Ligthelm Sound Mix (Teaser)…… Marcelo Baldin (Combustion) Sound Design (Film)...... Salomon Ligthelm Sound Mix And Additional Design (Film)…… Defacto Sound

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marriagebase · 6 years ago

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Biggest Product Releases at CES 2019

Hitting off 2019 with a weekend at CES, Resource gives you this year’s CES product release roundup. From January 8-11 in Las Vegas Convention Center, new products, gear, and technology showcased itself for the mass market and for curious onlookers.

Did you miss the @LGElectronics keynote at #CES2019? We have you covered. https://t.co/3HA2vAdTyb pic.twitter.com/zDoI0EFD37

— CES (@CES) January 15, 2019

At CES, there are 4,500 exhibiting companies, 180,000+ attendees, and representatives from over 155+ countries. CES has become well-known as the world’s gathering place for the future and business of consumer technologies. Touching all industries, CES provides a place for innovators and brands to build themselves.

Presenting products ranging from light to drone filters, we give you 2019’s showcased products from this past 2019 CES convention.

Lowel Pro Power LED Bi-Color

The Lowel Pro Power LED Bi-Color system features a powerful output in a lightweight location-based system.

It also offers a focusable Fresnel light that allows its users to flood or spot the light as they see fit.

Lowel Pro Power LED Bi-Color

Lowel Go Lite

The Lowel Go Lite is great for videographers and photographers working with handheld, quick equipment.

The Go Lite is a professional micro LED lighting system featuring high brightness and accurate color temperature output.

Lowel Go Lite

Lowel TOTA LED

Presented at CES 2019, the new Lowel TOTA LED portable floodlight provides users such as photographers and filmmakers with a high-quality and efficient light source.

Lowel TOTA LED

Steadicam Volt

The Tiffen Company released their first handheld electronic stabilizer. The Steadicam Volt enables smartphone and content creators to create stable videos via iPhone, Android, and other smartphones and GoPro Hero cameras.

The Steadicam Volt features dual operating modes for beginners and experienced users. All users will get all the features used by mobile operators on TV and movie sets.

Steadicam Air

The Steadicam Air makes it easy for professional photographers, videographers, and cinematographers to raise their heights and never miss a moment.

Bringing versatility back to the monopod, the Steadicam Air sets a new standard.

Steadicam Air

Domke Ripstop

Tiffen released their Limited Edition lightweight, water-resistant ripstop nylon camera bags. Perfect for the professional camera-operator looking for more space.

Domke Ripstop Camera Bag

Drone Filter Kits by Tiffen

Tiffen released new and exclusive Drone Filter Kits. These filters work for the DJI Mavic 2 Zoom, Mavic 2 Pro, DJI Mavic Air, and DJI Inspire 2, as well as DJI Phantom 4 Pro.

The following filters enable drone users to capture amazing in-flight imaging content.

Tiffen Filter on Drone

NATural ND Filters

Tiffen NATural Neutral Density Filters provide game-changing improvements in neutral density filtration.

It features balanced neutrality across the visual and IR spectrum, leaving its users with great color fidelity. From Tiffen, “the NATural Neutral Density Filters represent a new era of ND and IRND filtration.”

Natural ND Kit

Inspire 2 Filters

These filters work for the DJI Inspire 2. This filter pack is offered by Tiffen and their Drone Filter kit. This kit features essential Polarizers and an Aperture lenses.

Inspire 2 Circular Polarizer

Inspire 2 Aperture Kit

Mavic 2 Pro & Mavic 2 Zoom Filters

These filters work for the DJI Mavic 2 Pro and Mavic 2 Zoom. Also offered by Tiffen and their Drone Filter kit. It features different packs for both the Pro and Zoom.

Mavic 2 Zoom 3-Pack

Mavic 2 Zoom 6-Pack

Mavic 2 Zoom on Drone

Mavic 2 Pro 6-Pack

Mavic 2 Pro 3-Pack

Mavic Air Filters

These filters work for Mavic Air. Also offered by Also offered by Tiffen and their Drone Filter kit. Features a different pack sizes and a case to hold.

Mavic Air Filter Case

Mavic Air 3-Piece Filter

Mavic Air 6-Piece Filter

The post Biggest Product Releases at CES 2019 appeared first on Resource.

#Resource Jasmine Healymarketing seo instagram android apk website news

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boiledleather · 6 years ago

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“Narcos: Mexico” thoughts, Season One, Episode Three: “El Padrino”

The most remarkable thing about the episode, in which DEA Agent Kiki Camarena uncovers irrefutable proof of Félix Gallardo’s massive marijuana operation while Gallardo cements his role at the top of the organized-crime pyramid (sort of), is its patience.

Take Kiki’s journey into the belly of the beast, when makes an unauthorized undercover trip to work in Gallardo’s marijuana fields. First, he drives out to the point in the desert where he’d previously seen the unidentified convoy of blindfolded workers drive past. He sits there in his car for hours, until nightfall. When the convoy approaches, he waits until just after it passes and then pulls into line behind them. He arrives at the staging ground for the operation’s workers — a popular enough spot despite being in the middle of nowhere that it has food carts and bars operating 24/7 — and blends in, during a lengthy steadicam shot that does nothing in particular, really, just follows him into this world. He has a three- or four-beer, five- or six-cigarette conversation with the guy next to him at the bar, but then comes up short on getting any useful intel out of him.

He waits around again, napping, until the start of the workday just before dawn. He manages to get himself on one of the transports to the field with the help of his barfly buddy (who demands half his daily wages in exchange for this favor) and gets trundled out to the fields. He spends the whole day there, picking buds and fucking up his hands and eating bad food and, eventually, hiding from the DFS agents who show up on business and might recognize him from their shared time in the Guadalajara cop bar. He gets back on to the bus after what can best be described as a low-speed chase in which he struggles to stay out of sight and ahead of step from DFS underboss El Azul, who spotted and vaguely recognized him. By the time he’s shipped back to the staging ground and can use the payphone to report his findings to his boss, he discovers his wife has gone into labor.

All of this is done with minimal cinematographic razzle-dazzle, and more importantly, with barely a note from the show’s score and nary a peep from its omniscient narrator. Director Andrés Baiz, a series mainstay, clearly trusts his audience enough to grant them this silence, to let them take in the events of Kiki’s day and draw their own emotional conclusions about what he’s thinking, feeling, experiencing. The few times something unusual does happen from a filmmaking perspective — that long but unshowy take, the reveal of the gigantic forest of weed, the split-diopter shot that juxtaposes kiki’s terrified face against the DFS agents in the background — it hits harder because of its restrained context.

I reviewed the very good third episode of Narcos: Mexico for Decider.

#narcos: mexico #narcos #el padrino #sean t. collins #decider

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studiobcamerarentals · 8 years ago

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Nine Tips for Hiring the Right Video Production Crew

As a producer/director, I’ve traveled around the world putting together dozens of video crews ranging from small documentary teams to large commercial productions, so I know how challenging it can be to put a great crew together.

Here are nine helpful tips for assembling the right small crew and creating a good vibe for a successful shoot.

1. Take time to find the right DP for the job.

When I’m producing or directing a video, the Director of Photography (DP) is my best friend and the heart of the crew. Every DP has his or her strengths, just as every video has its own particular production challenges that require specific skillsets. Paring the right DP or Videographer for the job is an essential ingredient for a successful shoot. For example, some DPs are particularly good with creative lighting, or hand-held camera work, or documentary-style pieces, or green-screen shooting. Some might have a vast knowledge of lenses and tech specs while others are particularly good with corporate clients.

When interviewing potential DPs, make sure to ask them what kinds of productions they enjoy shooting most and what they consider their forte. Keep your budget in mind when asking their rate, but remember that you get what you pay for! More experienced and skilled crew members command higher rates, for good reason. Ask if the DP is available for your shoot dates but don’t book them until you’ve seen their work, which leads us to the next tip.

2. Vet your crew online.

These days every DP or videographer should have their own work on a website. Looking at a DP’s work is not only a great way to see if they have the chops to shoot your video, but also it can be a great place to see different styles that you might want to incorporate. Other crew positions are no different— set designers, make-up artists, sound recordists, etc. all usually have websites with their work and contact info. Check for an Imdb or LinkedIn page as well.

3. Ask for recommendations.

Have you found the perfect DP or videographer? Now is your chance to ask for recommendations to fill the other open roles. Perhaps the DP has a favorite gaffer, steadicam operator, or food stylist that they like to work with. And that gaffer probably has a preferred grip, and might know a great local sound guy. As a DP in that situation before, I can tell you that I wouldn’t recommend someone who I couldn’t vouch for. So if you know your DP is good, you can likely trust his recommendations.

4. Get estimates in writing that list crew and any equipment rentals.

It’s important to agree on pricing up front, so that you know exactly what you’re getting and so that there won’t be any disagreements about freelancer’s rates after the shoot. Ask them to list if their day rate covers 8, 10, or 12 hours and if lunch is on or off the clock. If your shoot needs to be union due to the location or circumstances, talk to the local union early to learn their working rules and to get any paperwork out of the way. Lastly, if you’re renting equipment from any crew members, a gear list will be helpful to make sure you’ve got all your needs covered.

5. Hire enough crew members to get the job done right

Budgets are always tight, so it’s easy to fall into the trap of going too far in cutting costs. Perhaps you hire only two people when you need three or four to get the job done right. It all depends on the shoot, but rarely do you want one crew member wearing too many hats. For example, say your DP doesn’t have a gaffer or grip to help set up lights, and while he’s lighting the scene he’s also worrying about recording audio. Either the quality of the final product or the speed of the shoot will suffer greatly, and you would have been better off hiring that sound recordist and grip from the beginning. Budget appropriately, hire enough people for the job, and you’ll be much happier in the long run.

6. Communicate with the crew during pre-production.

Set up a phone call with your DP to talk about your vision for the piece. Talking to them will give you both a better sense of their style and will help to make sure you can work well together on set. Don’t hesitate to ask questions about what equipment, locations, or extra crew you’ll need for your production. Keep crew in the loop when you want to put them on hold and when you’re ready to confirm the booking. If possible, send them a script and example videos ahead of time, to make sure you’re on the same page going into the shoot.

7. Create a call sheet.

Send out a call sheet to all of your crew members and talent, including address, call time, parking instructions, shoot schedule, on-set contact, and any other relevant details. Other helpful additions include: weather forecast, closest hospital to the set, lunch details/menu, project title and invoicing instructions. It’s always a good idea to ask your crew to confirm they’ve received it, and make sure to send it out at least a day in advance of the shoot (not the morning of!).

8. Coffee, breakfast, and lunch.

A well-fed crew stays happier and more productive, leading to a better product. Grab a to-go box from your favorite coffee place and start the day off right with a quick breakfast and meeting to go over the plan for the shoot. Check with the crew so that you know if anyone has any specific food allergies or preferences. If the shoot goes overtime, serve dinner as well to keep everyone motivated.

9. Make sure your crew gets paid in a timely fashion.

Whether you’re using a payroll company or cutting checks yourself, make sure to get invoices and any tax forms you need from your crew members and pay them as quickly as possible. If they don’t get paid on time, they won’t want to work for you again.

Studio B Films provides crew services for SF Bay Area shoots. Don’t want to worry about all the nuances of hiring the perfect crew? The easiest solution is to have us do it for you. You can rest easy knowing your crew will meet the high standards seen in our productions. We’ll cover all the logistics, crew hiring, payroll, gear prep and delivery, meals, and insurance. Just let us know what you need and we’ll handle the rest.

The post Nine Tips for Hiring the Right Video Production Crew appeared first on Studio B Camera Rentals.

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vocafilmsco-blog · 8 years ago

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What to Expect From A Quality Video Production Company

Video production companies focus on creating quality video content for an array of uses and clientele. While the notion of using such a company may make the budget-conscious tremble, they are an efficient and effective use of resources.

When sourcing a video production company, confirm the complement of services offered fulfills all one’s needs. Among the services and attributes provided by the best companies are:

1. Complete Production Capabilities: A full-service video production company will provide in-house pre- and post-production for video projects. These endeavors require a team including producers, writers, directors, camera operators, production assistants, sound engineers, editors, colorists, and executive producers and creative directors who helm the project to keep it on task and headed in the desired direction.

They also need the tools of the trade. Video production companies have equipment that includes cameras, lenses, tripods, boom mics, lavalier mics, shotgun mics, sound mixers, sliders, and Steadicams. Top of the line video and sound editing equipment and software for post-production, along with the expertise to wield them, is de rigeur.

2. Web Video Production Services: Video is the preeminent tactic to attract and engage customers, easily outperforming other methods to boost SEO and brand presence online.

It’s essential to keep content fresh for marketing and sales purposes. Top flight video production companies not only produce quality content; they can produce it on a regular basis. Typical content can include videos for blogs, company overviews, bios, and informational videos.

3. Commercial Video Production Services: Traditional outbound marketing is still effective for organizations who have the capital for such projects. The capacity for commercial production for TV, as well as film and documentaries, in addition to inbound capabilities is ideal, and the best video production companies will have the flexibility to provide both.

4. Corporate Video Production Services: Corporations can communicate everything from introductions, to testimonials, training, marketing, and good corporate citizenship via sleek videos.

5. Sales Production Services: Video is an exceptional way to introduce and demonstrate products and services. Sharp video production companies can leverage their knowledge of visuals and various film techniques to highlight their clients’ strengths.

6. Experience: Perhaps the most vital benefit a video production company provides is experience. It allows the team to understand what will and won’t work for a particular client. Producing quality videos is complicated, and experienced teams can spot potential pitfalls and navigate them successfully.

Quality videos are essential for success. Employing experienced and professional video production companies, such as Voca Film, is not an expense, it’s an investment.

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