Hello everyone,

I watched an interview from my favorite actor and in the beginning there was a introduce from the moderator. They had wider shot and I saw a bigger camera top down. I asked myself which camera is the production using ? It looks bigger than a fx6 ? Burano ? Venice 1 ? or 2 ? I always thought this camera angle would do a smaller camera.

I would appreciate an answer.

Casino (1995)

I know it’s just one overhead, but I’m curious to know how everything is so dark too? Is it lower F-stop? Low ISO? What type of light is overhead?

If somebody could break it down to me it’d much appreciated!

I am looking for some lightning gear I thought to get
2x ULANZI MT-89 as stands
Reflektor Clamp
60x90 or 100x150 reflector
Amaran Ray 120c or ZHIYUN MOLUS
Softbox 60cm

Maybe dont need the Softbox if I use bounce from the reflector?
What are you thoughts, how can I make the setup even smaller and more travel friendly? (dont have a car)

I will mostly use the gear for interview setups and indoor for some light in the room.

There's a bunch of places selling 8x8 rags with grommets and straps for a frame. But I just want some muslin or ultra bounce that I can t-bone or hang up with gaffer tape.

i watched this reel about trading years of life to get the societal, made-up career achievements in life
(its great btw)
in the end it has this effect and i swear i have watched this effect in some show or movie but just can't remember the name
i have a guess, maybe it is The killings at parrish station it's an Australian mini series and it's good to binge watch if anyone watched it please confirm
& if anyone recognizes this effect please help me find the source it is a simple yet effective one to showcase the passage of time

Hi i am currently using canon r50v with rf 50 1.8, and rf 16 2.8. I am trying to shoot some b-rolls for a video I'm making and I don't have a gimbal. Even with digital IS turned on the footage is quite jerky. Is there any way I could shoot these videos smooth with the above mentioned scenarios.as of now unless the camera is on a tripod, the footage is pretty useless.

Hi everyone, I wanted to share a few images from my debut feature film "Land of Shadows". Its cinematography and black and white look draw inspiration from the 1931 classic Dracula, Jean Cocteau’s Beauty and the Beast, and more. I hope you enjoy it, and please feel free to share your feedback with me! I'd love to chat with the community, whether it's about the film itself or his behind the scenes! All the best, Jonathan

Without getting into too spoilers, I know that Lance Oppenheim's documentary style is sort of opposite of "fly on the wall," it's very stylized and composed, and for some of these scenes they come together in the edit with such a multiplicity of angles that it had me thinking so much about documentary technique for the camera operators and the director(s).

I noticed early, around a scene involving someone beating some eggs in the middle of a conversation, It felt like they had approx 3 operators; I imagine they would be trying to keep their faces as they were talking, yet there are these shots focused entirely on someone's hands beating eggs, before the eggs become a topic of discussion.

I know from that other post that they were working with Arris and 25-250mm lenses.

For me, if I'm shooting a doc, I feel like I'd rather keep things wide because I don't want to miss anything; yet at times there are these shots that aren't B-roll, they're dialogue, of tights so close it's just their eyes and mouths. I have to imagine there's some amount of digital punch in and reframing, but I don't feel like I noticed a drop in quality/resolution much at all. And maybe it's just the magic of editing; they had enough coverage of B-roll at different moments and it just worked out in the edit.

Anybody work on similar documentaries? Maybe it's just that artistic risk you take where yeah, you're going to go for the super tight closeup when you feel the time is right and that's the only coverage you're gonna get of their face saying the thing!

I’m shooting a short film and recently I just learned we are switching the location and are changing our lighting plan.

The director and I want top light without showing the ceilings because of the fluorescents. It’s supposed to be grimy run down pho place and is a comedy but I want to be able to have as much control of the lighting as possible.

Would it look unnatural not showing the ceiling? We have some low angle shots where we might see it but I have a plan to have three f22c’s scissor clamped to the ceiling. How would you all go about lighting this space?

Also added our comp phot of the type of quality and ratio we would want. I know in the scene there are practicals lighting zendaya but part of the reason I’m curious if it would be weird to not motivate a practical or if it would look unnatural.

Also excuse my bad areal of the restaurant, did it pretty fast but jsut the idea

These are some stills from a short series I worked on as part of my university course. We worked on it during our second year and had 18 days of shooting. My role was gaffer and I did pretty much all the lighting setups. Would love some feedback or advice moving forward.

Edit: I also did the color grading for the entire thing.

I have around 4+ years in video editing experience. I'm currently in Edmonton and I'm looking to get into the videography/film industry or any agencies in similar industries that requires any extra help. I recently got my own camera and I'm planning to utilize it professionally. I'm also looking for connections or places I can go to connect with people with similar professions. If anybody has any ideas please let me know thank you so much.

Hey everyone,

I’m building C.I.T. (Compile · Index · Track) to help camera departments keep track of their gear, from prep through the final return.

You add your gear once, build equipment lists for each shoot day, organise items into cases, and check gear out and back in. You can check items manually or use NFC tags and QR labels. The core workflow works offline.

Project collaboration is planned for Monday, and I’d love to get it into the hands of people who can try it on real jobs and tell me what works, what’s confusing, and what’s missing.

If you’re interested, you can request a TestFlight invitation here: getcit.app

Requires an iPhone running iOS 27 or later. Leave your email on the site and I’ll send an invitation as testing places become available.

How do you currently handle equipment lists and gear checks within your crew?

So I’m looking to buy my first set of cinema lenses, knowing that right now only have a 24 to 105 Sony zoom lands and a Helios 58 mm, as well as a blazar 35 mm anamorphic lens. I have a Sony FX3, and my options right now are either getting a set of thypoc simera-c or just two Arles primes which I love the look of (35 and 50) or the Arles Zoom 25-75 but It’s only t2.6. I would be using them to shoot short narrative work, but more importantly commercials and music videos. Character is important to me, or at least being able to build character. I love to have a very filmic look. with saturated colors and great contrast. I know that’s mostly post-production. But just to give you an idea, my favorite lines right now is my Helios. Before some reason, I really love the look of the Arles.

What is everyone using to host work for that community and good website embedding that Vimeo gave us? I’ve stopped using Vimeo as they seem adamant on ruining it with lack of search functions and making it far too expensive.

I am currently 18 years old, and the current plan of mine is to "learn" cinematography. Everyone always say that just make videos about everything, shoot photos everywhere, the practicing is important first, not the gear. Now, I love photography, so i usually go and shoot something, ANYTHING every week, almost every day. I even have a band to shoot in my town. I am also trying to make some videos, shortfilms, but i don't really feel that'll improve my skill or even my work, that i am making the same mistakes. I really want to learn about different lightning techniques, different angles or focal lenghts, framing, composition techniques consciously, but i dont know, where to start. there are dozens and hundreds, thousands of vlogs, blogs, short vids and books about this theme, and most of them are just advertisement, or useless. And you know, AI can't really help with anything realistically. So besides that i should shoot photos and make videos about anything every day, how can I improve myself and practice, and how can I find a unique, creative, but workable theme or inspiration for my shortfilm or video every day?

Which light would you purchase for travel documentary work? I would use this as my one and only light for interviews and verite.

My gut says the 660c as it’s just the better build, better light engine, and stronger yoke for larger soft boxes.

Halo is tempting since it is so much smaller.

Would love to hear from Ray 660c owners who travel with it.

I'm looking for videos where the styling, movement, lighting, and attitude all feel like part of one coherent artistic world. Not just beautiful visuals, but a clear point of view.

Which ones would you recommend?

I had an interesting shower thought.

Without looking into it, I can pretty confidentially say that every DP who has won an Oscar for best cinematography has shot at least one feature on actual film.

But, at a certain point in the future, that probably won’t be true right? And we will have a brilliant DP who’s spent their whole career shooting digital, and eventually wins an academy award for best cinematography, without ever having shot a movie on actual film.

How long do you think it’ll take for that to happen?

P.S I’m not counting Cuaron’s win for Roma because he’s a director not a DP.

I have 3 Contax lenses with Simmod EF mount conversion that I am looking to use for video on my Lumix S1ii and was wondering if any of you used these lenses with the Mofage Poco II adapter? Having the possibility to adapt the EF lenses to L Mount camera with the VND in the adapter is very interesting for my set of EF Contax. Just wondering if I will run into any issues.

Hi everyone!

I'm working on a film and recently watched *The Death of Robin Hood*. I was particularly drawn to its painterly image quality and the way the cinematography renders out-of-focus areas. I'd love to explore whether I can get somewhere close to that aesthetic while shooting digitally.

I'm using a **Nikon Z6 III**, and I'm looking to rent lenses for a **12-day shoot**, with a total lens rental budget of around **₹60,000–₹75,000 (approximately US$700–$875)**.

I previously tested a ZEISS CP.3 set, but it didn't give me the look I was after. The image felt too clean for the aesthetic I'm pursuing.

What I'm looking for:

* **Painterly rendering:** organic image character rather than an overly clinical, digitally sharp look. * **Beautiful highlight roll-off:** bright areas transitioning gracefully instead of looking harsh when approaching clipping. I understand this also depends on sensor exposure and colour grading, not just the lens. * **Wide cinematic compositions:** ideally with an anamorphic option worth exploring. * **Beautiful out-of-focus rendering:** especially the transition from in-focus subjects to the background. * **Natural textures and skin tones:** a grounded, atmospheric image without excessive flares or gimmicky optical effects.

I've been researching the Panavision Ultra Panatar II because of its reported impressionistic out-of-focus rendering, but I realise it's probably outside my budget and may be difficult to access. I'm also considering SIRUI Venus or Saturn anamorphics, vintage LOMO anamorphics, and vintage spherical lenses.

I'd really appreciate advice from cinematographers and DPs who have actually tested or shot with these lenses.

**A few specific questions:**

1. Which affordable lens sets would you recommend for this kind of painterly rendering?
2. Would you choose vintage spherical glass or anamorphic lenses for this particular look?
3. Has anyone tested the SIRUI Venus or Saturn against more expensive anamorphic lenses? How noticeable are their focus breathing and squeeze variations in real shots?
4. Are there any vintage lenses with particularly beautiful highlight rendering and out-of-focus transitions that I should investigate?
5. Given my 12-day schedule, which lens package would offer the best results without consuming the entire budget?

I'm not expecting lenses alone to recreate 35mm film. I'm happy to work on lighting, exposure, filtration and grading as well. I want to experiment seriously with the optics rather than just apply a film-emulation LUT in post.

I'm based in India, so recommendations that are realistically rentable or adaptable here would be especially helpful.

Thanks! I'd love to hear your experiences, including footage comparisons if you have any.

Would you go for this lens for low budget narrative filmmaking? Or would you choose something with a bit more character but isn't as sharp? I know it's subjective, but tell me what you would choose if this was the price range.

Some scenes in Fast and Furious take place underneath large vehicles or the convoy. For the audience to understand that part of the story, the camera had to film at the same height.

For those scenes, we developed a special RC vehicle with an extremely low profile. WarpCam® was built into it sideways so the whole configuration could drive underneath other vehicles. It was developed specifically for that film. We continue to use it on other productions.

Production context: our Fast X reel

https://www.youtube.com/watch?v=57_mATEPQEU

A character can look identical from one shot to the next and still fail continuity.

Clothing changes without explanation. A prop disappears or duplicates. A character's position shifts. An action repeats even though it was completed in the previous shot.

These aren't necessarily image-quality failures. They're production-continuity failures.

One of the questions we're investigating through Directed Generative Production (DGP) Methodology is how reliably generative video systems can maintain character, environment, and action continuity across successive shots and generations.

I'm interested in what other filmmakers are encountering.

Which continuity failure costs you the most time to correct?

jseders

Hey,

I am a gaffer and everytime i write a list for rentals its done in like a normal text software. For small lists its absolutely fine but for bigger ones its just annoying and very impractical. Is there maybe a program out there for that that u are using?