|
Here is my newest cinematography reel, I've posted it in a couple other places already this past week so maybe you've seen it already. Let me know what you think. http://www.youtube.com/watch?v=5ZKl9tgO_qs&fmt=22
|
#
¿
Aug 8, 2009 09:10
|
|
|
|
| # ¿ Apr 26, 2024 15:43 |
|
|
butterypancakes posted:It's cut better than most cinematography reels I see. For the variance of shots it's a bit long, all though it's cut well enough to keep my interest. Will fix this when I fix Avid, thanks bro. 
|
|
#
¿
Aug 11, 2009 01:24
|
|
|
Hey, looks awesome man, nice work. I would open with something stronger than the architecture shots, something slow and dramatic, with people. Get rid of any shots that are underexposed and shorten the reel to about 1:30 if you're going to go with the music video style. Also maybe you could make a supplementary video that would be longer with portions of complete scenes in them. Where do you live in the world?
|
|
#
¿
Aug 27, 2009 00:01
|
|
|
It's a good way to show in 1:00 - 1:30 what you can do. but you should have a longer one that shows your continuity of shot looks in select scenes. Try to pick your best looking and most diverse scenes. Just start with the short music video style one and decide later if you want to do a long one. The letus is great, it's the best adapter by far. The 5d is really cool but I think it's best suited for casual film making and weddings.
|
|
#
¿
Aug 27, 2009 01:08
|
|
|
Absolutely not I hated Filmy Filmmakers. What is the point of having a subforum that only 20 people frequent? No thanks. I like posting my work in CD for the masses to see.
|
|
#
¿
Sep 18, 2009 00:04
|
|
|
I'm working in post on my Thesis project, a short narrative. It's taking a lot longer than it should. It's hard to motivate people when most of them aren't getting paid. (except you ButteryPancakes, you did great job and in short time.)
|
|
#
¿
Sep 18, 2009 07:03
|
|
|
Crop Top Skank posted:I don't think anyone ever said you had to post there. At any rate, posting your work certainly isn't the only reason for bringing it back. The problem is, if we had a FF subforum and someone posts something for all to see in CD they say "don't post that here, you have a subforum for that."
|
|
#
¿
Sep 18, 2009 09:39
|
|
|
Slashie posted:My baby cousin just started film school, and I'd like to get her a digital camera to use for the shorts she makes outside of class. Do you guys have any recommendations for a decent camera with manual controls? I don't have any particular budget concerns, but I figure something like a RED camera is overkill for an eighteen-year-old. The Panasonic HPX 170 is an excellent all purpose low budget camera. It'll be about $7000 including accessories and a decent tripod. It has an great optical zoom lens and a whole myriad of manual controls and setting. The best thing about it is that it doesn't use tape at all, it records to solid state media called P2 cards. You just import it directly into your editing program. It has two slots for P2 cards and you can buy whatever size of cards you want 8 GB is the smallest I believe, on two 16GB card with the right settings you can record 80 minutes of footage without having to unload either card. For someone who is just starting, it has a steep learning curve but she's got to learn sometime and the sooner the better.
|
|
#
¿
Sep 28, 2009 07:36
|
|
|
Slashie posted:That sounds fantastic, thanks. I'll probably get her some P2 cards too - anything I should be aware of when buying them? I don't think that "off-brand" P2's exist so don't worry about getting the "wrong one". Also there are about a half dozen ways to get the P2 media in to any given editing software and it can be difficult to figure out, but once you figure out one way it's a snap after that. And, don't get scared when you see the price for one card, you're not getting ripped off, they're just that expensive. I did I quick google search and it looks like Panasonic put out a new gray "E series" of P2 cards that are supposed to be much cheaper and perform better. I've never used them but it sounds like a pretty safe bet, just make sure you have a warranty. One more thing to consider is storage. Professionals never store their footage and projects on their main hard drive, they use external drives only. It makes it easier to manage and transport. Just try to buy quality hard drives like Lacie, they are proven to fail the least out of any brand of hard drive.
|
|
#
¿
Sep 28, 2009 20:51
|
|
|
Where did YOU go to school?
|
|
#
¿
Sep 29, 2009 03:35
|
|
|
butterypancakes posted:Well, the first school I went to that's pretty much true. This is true, but I wish I owned one.
|
|
#
¿
Sep 29, 2009 07:27
|
|
|
do you mean 24p? If you are using P2 cards you should set it to 24PN instead of 24P (selectable with the resolution in the menu, I recommend 720p/24PN). I might be inaccurate on the specifics but basically 24P shoots 60fps and does a pulldown to average the frames into 24fps. It's meant for DV tape since DV can only do 60fps. On P2 cards it's all digital so if you set it to 24PN it natively only records 24 full frames per second and doesn't average them to fit 60fps at all. It looks better and also saves space on the card since it's shooting less frames. There are no drawbacks. DEATH TO TAPE!
|
|
#
¿
Oct 1, 2009 21:28
|
|
|
I would go with the 720p/24p mode in that case.
|
|
#
¿
Oct 1, 2009 22:02
|
|
|
Didn't know you were UK, and it looked like an HVX, so I'm off. 25P for PAL(Europe) and your camera doesn't do HD. Sorry to confuse you. ButteryPancakes are you saying that HVX DV tape can't record HD? Because it can.
|
|
#
¿
Oct 2, 2009 01:48
|
|
|
butterypancakes posted:The HVX-200 can only do DV to tape, not even DVCPRO50. It's bigger brothers, like the HPX-500, can do DVCPROHD to tape. Well I suppose I've never even USED tape on an HVX outside of intentionally shooting SD (for legal video). But I've used DV tapes in HD on far lesser cameras so I assumed the HVX could too. It can't really? are you sure?
|
|
#
¿
Oct 2, 2009 05:03
|
|
|
lol good to know, even though pray to God I never have to shoot on tape ever again.
|
|
#
¿
Oct 2, 2009 11:43
|
|
|
Momonari kun posted:So we finally got some funding for our movie, and we'll be spending a bit more on the equipment this time. We'll likely be shooting on the EX-3 again this time, but I was wondering about options for lenses. One of the updates for the EX-3 over the EX-1 was the interchangeable lens, but after searching around, I'm not finding that many lenses or even adapters for this. I going to try to chime in again without confusing myself. You don't need to buy the $3,500 relay to use an adapter. It would be ideal but it is not necessary. You can put a regular $1,000 Letus in the end of the lens that's already on it, you just lose a half a stop. Also depending on where you live you can rent an adapter. I recommend the Letus over the Brevis and the Red Rock. Also I would would recommend to not use an adapter unless you really want the look that it gives, it can be gimmicky in the wrong situations. Question for you, have to tested the workflow for their SxS cards? I heard in the past that they're very proprietary and only work in Vegas or some poo poo even though they're .MXF it's like a special Sony .MXF. SquareDog fucked around with this message at 22:07 on Oct 2, 2009 |
|
#
¿
Oct 2, 2009 20:10
|
|
|
butterypancakes posted:I've edited it with FCP using a USB reader. I second this but am afraid to sound gay for Panasonic.
|
|
#
¿
Oct 2, 2009 22:08
|
|
|
How much was it?
|
|
#
¿
Oct 2, 2009 23:08
|
|
|
Frost posted:the SxS cards fit right into the Macbook, Any Mac less than a couple years old doesn't have that slot anymore. Sad story.
|
|
#
¿
Oct 5, 2009 04:40
|
|
|
The Affair posted:Great to come home from being away and see so many posts in this thread. So many people say they don't like LA but I just love it. I grew up nearby so that has me biased a bit I suppose but I love all of the madness that is LA.
|
|
#
¿
Oct 6, 2009 04:20
|
|
|
While lens length does contribute to depth of field what really matters is aperture. How fast are your schools lenses? a lens that opens to a T3 will be enough to get you that pretty depth of field, but having lenses that go as low as T1.3 is even better. I shot several pieces with only the standard RED zoom lens which is 18 - 50mm, T3. It doesn't look as good as it did with a set of Zeiss Super Speed primes at T1.3 but it it still looked fantastic. Really if you go all out and get a RED you should go the extra mile and invest in more lenses than just a 30 - 50mm range. Are you sure the school lenses are 35mm PL mount? Do you know people who have put them on a RED, that it works? Important things to consider. When you say "use the school's 500", do you mean the HPX 500? Please clarify. You won't get nearly the same depth of field but it will still look great on an HPX 500 and will be much cheaper if you're just borrowing it from the school.
|
|
#
¿
Oct 6, 2009 08:23
|
|
|
The RED is the best choice for narrative usually, but only if you have people on set who know how to use it, and know how to do the work flow after production, during editing. Sure people gotta learn but there must be at least one person that knows how to do everything if you get stuck. If that's not the case then I'd go with the HPX 500. It's very fast 2/3 chip with a nice standard zoom lens on it and the work work flow is a piece of cake compared to the RED. You won't get quite the same depth of field as the RED but it will be better than the HVX 200. vvvvvvvvvv It's a T3, but it's still very shallow due to the sensor size. SquareDog fucked around with this message at 01:21 on Oct 7, 2009 |
|
#
¿
Oct 6, 2009 23:47
|
|
|
Hey butterypanckaes, I won't get to the meeting tomorrow and I'm sad about it because I totally wanted to pitch some of our dumber ideas for the shorts.
|
|
#
¿
Oct 7, 2009 07:41
|
|
|
my e-mail is mansuit@msn.com which is a reference to a famous scene in Donnie Darko but NO ONE has ever said "Oh, like Donnie Darko?"
|
|
#
¿
Oct 8, 2009 20:24
|
|
|
Hey man, don't be takin' smack about Hero.
|
|
#
¿
Oct 8, 2009 23:54
|
|
|
Wouldn't it have been cheaper to use Tungsten lights with CTB for night shots? HMI's are way more expensive to rent.
|
|
#
¿
Nov 13, 2009 11:03
|
|
|
It all depends on the situation, really. For instance, what if you don't need a genny?
|
|
#
¿
Nov 14, 2009 13:00
|
|
|
Dr. Fishopolis posted:how else are you going to get 150 amps on an EXT NIGHT location? Last week we lit the poo poo out of a large night EXT without a genny, not that you're "wrong" or I'm "right", just saying is all.
|
|
#
¿
Nov 14, 2009 22:21
|
|
|
It looked fantastic! DP is an AFI graduate. Large park/garden on the side of a mansion. The mansion is probably why we didn't need a genny. Shot on the Red with Red primes.
|
|
#
¿
Nov 14, 2009 23:42
|
|
|
They're good for weddings and behind the scene footage at least.
|
|
#
¿
Nov 22, 2009 23:01
|
|
|
I have three credits on the last feature length I worked on, not including the several times I was an extra.
|
|
#
¿
Nov 30, 2009 09:21
|
|
|
Oh, you know, looking gigs. You got one for me?
|
|
#
¿
Dec 7, 2009 09:18
|
|
|
looks good, not much to say. What was it shot on?
|
|
#
¿
Dec 14, 2009 18:42
|
|
|
Would have guessed as much.
|
|
#
¿
Dec 14, 2009 21:01
|
|
|
Reichstag posted:I just saw Avatar last night and I don't know where else to post this, so let's talk 3d itt for a moment. Maybe this means that the super wide depth of field will come back in to style? It's like the 40's all over again.
|
|
#
¿
Dec 19, 2009 10:13
|
|
|
Rogetz posted:I also thought the CGI looked like poo poo but that's another story. Ah SA, home of hyperbole.
|
|
#
¿
Dec 19, 2009 18:34
|
|
|
It's also potentially really expensive to get that much light in the shot.
|
|
#
¿
Dec 24, 2009 18:35
|
|
|
I think it can look filmic and have a deep dof. It's the calculated camera movements and expert lighting, or just being shot on 35mm. That will make it look more filmic than a shallow dof.
|
|
#
¿
Dec 25, 2009 21:31
|
|
|
|
| # ¿ Apr 26, 2024 15:43 |
|
|
Do something where it's about a college age boy who is an assassin that does drugs and knows weak looking kung-fu moves, and in the end it was just a dream. Also try to be too funny and too dramatic at the same time making it difficult for the audience to figure out what kind of movie they're watching. Don't forget to include licensed songs that you obviously don't have the rights to and use Papyrus for the titles and end credits followed by a lame dance sequence with your movie crew. It will be the ultimate student film.
|
|
#
¿
Dec 27, 2009 00:23
|
|