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lighting diagrams? lighting diagrams? Awesome. I was wondering also-- do you make lighting diagrams during prep for a film? If so, how often do you stick with the plans? And do you have any samples from any of the films that you've done? thanks, t

Looks great! For that raining scene, did you back light the falling water? And how did you get that water rippling effect on that shot with the 2 characters on the stone bridge?

It really depends what exactly the sun is backlighting in your shot You can try using a polarizer, And if you are locked on sticks and the sky is in your shot, a graduated nd filter

50d 50d Should use kodak vision 2 50d It has smaller grain. Its good especially if you will project your footage on a big screen.

Does anyone have Cinematography reels I can take a look at?

it really depends on what you're shooting, and the format you're shooting in. 16mm? 35mm? for a 16mm camera your 50mm will act like a telephoto lens if you're shooting on those HDSLRs, a 50mm is good to have as the image size is close to that of a 35mm film cam but you should really have a...

LITEPANEL' Micro Led LITEPANEL' Micro Led Hey, for a budget of 250, you can get a micro led from Litepanels It's dimmable-- and it comes with tungsten/ daylight balancing gels and this one frosted piece for softening the light i use it with my hvx (which isn't so great in low light...

Most Hollywood films and some TV shows and commercials are still shot in film. Many of the old school DPs, like Roger Deakins-- don't intend to switch over to digital.

if it's strictly for youtube, and dvd... HD is unnecessary. the DVX is a better choice, in my opinion than the GL-2 cause you have the option to shoot 24p. Personally, I wouldn't recommend JVC. Also, if you really want to go further with this film and video thing and you do have 2000 bucks...

I think it's darker for RAW cause according to the manual: "RAW: monitor path image represents the RAW sensor data, bypassing the color matrix. " But you can supposedly boost up the exposure for the raw file at least a stop and a half for your darks in post without losing any detail, or adding...

You need to submit it to them, and there's usually a fee. You can use https://withoutabox.com/ to submit to a variety of festivals. Then some judges will have to decide if your film is good enough to even be part of their festival. Sundance, Cannes and Tribeca get literally thousands of...

It really depends on the story of your film... If it has a bunch of outdoor scenes you really need to decide what time of the year it is, unless you live in an area where you don't have trees... or people. And professionals shoot in freezing temperatures all the time-- don't let that stop you...

why not go HD ? why not go HD ? if you can afford it: panasonic: HVX-200 Sony EX-1 they are in the 5000 us dollar range. Or 3800 used.

I'm not sure about the xl-2 but the dvx100b does "squeeze" the 4:3 frame into 16:9. But both of these cameras are Standard Definition cameras, which means if you're not "squeezing" the frame, then you are cropping it with black. So, regardless-- it's still going to be a 4:3 frame. The XL-2...

budget budget first of all, what's your budget for a new camera?

High contrast... If you want to achieve this look with video, I think I would: -try using hard single and double source lighting with little or no diffusion. -crush the blacks, and raise the whites in post... hope that helps

You can also try a Lumix GH-1, a tad bit cheaper than the canon-- and also shoots 24p, 1080. Haven't had the chance to try it yet.

I think it really depends. I've met many TV/ Commercial Freelancers-- DPs, gaffers and camera crew who didn't study film in school. Some were theater majors, and some were painter/illustrators-- but they got into the business because it simply pays the bills and they're good at what they do...

sunny day exteriors sunny day exteriors I've heard that when you have a shot where it's a bright sunny day and you don't have the budget for 10k HMIs, it's best to position the subject so that the sun acts as a back light. But what if like in this situation, you have the sky in the...

Actually I've worked with a couple of DPs that rate it a stop or a stop and a half faster. I heard that it's better to underexpose a bit when working with RED-- not only to save the highlights (since it's still video after all), but RED raw footage has 11 stops of latitude-- so you can always...