Kunitaro Ohi is a cinematographer who I not only admire as someone dedicated to his craft, but also as a good friend. Kuni and I have worked together on many projects, among them Ghosts Don’t Exist and Red Herring, as well as various shorts and a few commercials.
Filmmaking Tips and Advice
I have featured Timmy Rubensteiner, the self-proclaimed DP Red Wizard, on my blog before when he released a useful video explaining how to use the RED Camera Magic Movie Input Machine. But Rubensteiner, surprisingly, is willing to share even more of his knowledge of RED, cinematography, and set etiquette on Facebook where he posts intermittent pieces of advice.
Shooting exteriors in bright sunlight, or in a brightly lit set, can make it difficult to see viewing systems on any camera. This is especially true on the DSLR form factor where the LCD screen is comparably tiny to dedicated film or video cameras. That’s where the hoodman comes in.
Directors Andrew Gaynord and Joe Grace along with Rocket Sausage have given us a preview into the exciting new world of CGI-brows.
In his early days Spielberg invented the blockbuster. Nowadays JJ Abrams is redefining what that means. With Super 8, Abrams will be pairing up with the filmmaker that he has become most like. Here’s five reasons why Abrams’ is this generation’s Spielberg.
We were creeping up on 12 hours with about 5 more pages to shoot and I was beat; Dead tired and ready to go home. There was no overtime and no 2nd meal and this was not the first time we had gone over schedule on this production. To say this production was rough would be an underestimation
Josh Davidson is an actor, director and overall one-man-band filmmaker whose newest movie is sure to make waves in the indie film community. That’s because his movie – DEAD iSLAND – was shot entirely on Apple iPhone’s.
RED has come out with a slew of new details on it’s second line of cameras lately by way of REDuser.net. Maybe that’s because it’s almost the end of 2010 and Jim Jannard needs to start delivering on his word. Either way, the RED Scarlet, the lesser of it’s line of DSMC (Digital Stills and Motion Camera) cameras has gotten an upgrade similar to it’s sister the RED Epic.
Unfortunately, you may be in a situation on a low/no-budget film where production won’t rent a follow focus or you’re a one-man-band filmmaker who can’t afford one. Luckily there are some easy techniques to rig up a follow focus on the cheap, most for under $10.00.
Adam Wilt of Pro Video Coalition recently paid a visit to the RED company headquarters in Los Angeles where he saw first hand some working RED Epic cameras. He also was able to watch a 4K projection of that recently released HDRx footage. While touring the complex with Jim Jannard, founder of RED, Wilt was able to find out some interesting new details about the upcoming RED Epic digital cinema camera.