Curious if anyone knows what happened. We’ve heard rumors for years but nothing materialized. And now with the fx5 about to be announced, does anyone have any ideas if there will ever be a successor, or is the burano and the fx6 basically the replacements?
Why discontinue the fx9 if you’re not planning to release a true successor?
Which lenses have made you want to buy them? and why do you buy and still keep them? What makes it good for you? What are your personal criterias for a good lens?
I'm looking to upgrade and expand my equipment and was thinking of getting a more budget friendly video camera, as I've not worked a lot with them.
Good day, ive been playing around with style/look that works for me. Did some research and conducted a few edits that yeileded the results i was after. What are your thoughts on the look. The shots are in a narrative format flor this spontaneous shoot. Inspired by Baraka.
Edited and Graded by : Valentiois Williams
Music by: Andrea Krux
Been hearing a ton about lenses with 3d pop , not having 3d pop, etc and I can't see it 99 percent of the time. There's only been in one instance that I have felt the difference clearly....
Is it only me that have a hard time distinguishing this?
Does 3d pop affect your lens choices?Why?
Clicked from a basic mobile. Just adjusted the lighting here and there. I am a beginner. Don't even know the basics but i am looking for feedback/review
⚠️ça va être long ⚠️ mais j’ai besoin d’aide
Je me lance dans le Super 8 avec une Canon 1014 XLS et une pellicule Kodak Vision3 500T, et j’ai du mal à comprendre comment bien gérer l’exposition, surtout en intérieur avec lumière artificielle ou dans des scènes à fort contraste (ex. une fenêtre très lumineuse + un intérieur sombre).
Voici ce que je sais déjà :
La vitesse d’obturation est fixe à 1/60s (ou 1/50s en PAL).
Je peux régler l’ouverture (f/1.4 à f/22 voir 45) et la cadence (9/18/24 fps).
j’ai actuellement La 500T est une pellicule sensible, car je veux filmer les backstage d’un défilé de mode.
je suis débutant en argentique, je shoot en digital avec un olympus em1 en manuelle j’ai l’habitude d’avoir un retour sur mes réglages mais là pas du tout en super8.
le soucis c’est que le posemètre auto de ma super8 indique que je suis toujours sous exposée en intérieur… même avec ma 500T donc j’en déduis que elle ne connais pas mes iso
→ Est-ce que le posemètre est calibré pour une pellicule moins sensible (ex. ISO 100-200) ?
Comment bien exposer en lumière artificielle ?
→ Faut-il toujours surexposer 500T ?
→ Quels réglages (f/ + fps) pour une scène avec des ampoules à incandescence ou des
Quels sont vos réglages "par défaut" pour :
- Un intérieur normal (lampe, néon) ?
- Une scène en extérieur nuageux ?
- Une scène en plein soleil ?
Avez-vous des exemples concrets de rendus avec la 500T selon différents réglages ? (Photos, vidéos, descriptions.)
I'm soon shooting a confrontation scene where one character is sat down while the other is stood up.
I've got all my coverage figured out except for the master which I'm struggling with. I don't think it looks very good. I don't intend to use it for more than 1 shot in the edit but I know it's good to have for safety.
Because this is a very confined room I can't easily replicate the lighting setup from the meds/CUs in this wide.
Things I like:
- Using the lamp as motivational which mostly matches the lighting I have in the coverage. Because of the framing you can actually move it closer to the actors without it being too obvious on camera.
- I like how the stairway establishes where we are in the house, and it gives us a good look at each character in relation to each other (even though low lit).
Things I'm thinking to improve:
- Placing a kicker light (Aputure MC) behind the sitting character to separate them from the background a bit.
- Possibly placing a kicker behind the standing character, though they do move around a bit in the scene.
- Angling the lamp so it splashes more light onto the standing character.
- Moving the kicker light on the stairs so it doesn't cast a hot spot on the banister.
- Remove the distracting picture frames off the bookshelf.
- Maybe pull the actors forward a tiny bit? I'm quite limited by the location and I'm shooting on an MFT camera so I'm constrained in terms of depth of field and how wide I can get. This is a 10mm lens right up against the wall.
- Possibly adding a "dirty" out of focus item in the foreground to add a bit of depth.
- Moving the camera up and tilting down so the ceiling isn't in frame.
Thanks for your help!
Hi, I'm a young aspiring filmmaker currently shooting short films on a Fujifilm X-T4 with a kit lens. I've decided to upgrade to a camera with internal RAW recording, since I'm aiming toward arthouse filmmaking. Through my first few shorts I realized AF and IBIS don't matter to me at all, I never use them. What I actually care about is highlight roll-off, dynamic range, and a cinema-style workflow (exposure, focus pulling, framing). I plan to shoot mostly with vintage photography lenses, and I'm aiming to emulate analog film look the kind you see in a lot of arthouse cinema. I'm deciding between two cameras I can get used: Sigma FP, Blackmagic cinema camera 6k Full Frame; the second one is 800 euros more expensive. Has anyone shot with both with vintage glass? I'd love to hear real-world experience. I'm really interested in:
Any opinion is welcome. Thank's in advance!
I’ve been itching to make something with this color palette for quite some time now and I’m glad I finally got to put together a project like this. I even got a chance to add a bit of subtle/simple visual effects within the project.
Done with a minimal crew & budget (hopes and dreams if i’m being honest) but I absolutely loved the way the first shots turned out!
Would love to hear what you’ll think :)
Hi my name is Adolf I’m 16 yo student and one day I’d love to have the opportunity of working as an DOP.
Here I am sharing some shots that I’ve took with an base iPhone 13 with zero equipment other than me,my phone and my hands.
I color graded every shot on the iPhone gallery app. I tried at least lol.
Another thing I tried is syncing these shots in real time of 2 days.
I know it’s not perfect considering some of these shots range from 1-2 months ago.
But ultimately I’m tryna show some of my work and wanted to get some honest feedback if possible positive or negative I’m all ears.
And as for do any of these shots have a purpose question I would say definitely yes considering before taking some of them I was imaging how it would look if put in a movie scene and what it would portray.
At the end of the day most of these shots if not all are mostly just B-rolls but man wouldn’t I be happy as hell to get to shoot some one day for an actual movie or an short film.
Thanks for your time!
Hi everyone,
I'm a director and cinematographer based in South Korea. I've posted here a few times, and the feedback I got each time really meant a lot to me. This time, my study of the color green turned into a short art film, so I wanted to share it.
It started because I wanted to bring the green of my favorite films into my own work. I shot the same scenes on film (Portra 400, Colorplus 200, Fujifilm 400) and digital (Panasonic S1M2), then tried to match the digital to a film look using Dehancer.
Going a step further, I also mapped 16 films I like by whether their green feels warm or cool. Doing that, I ended up realizing a lot of things.
Finding Rose was shot on a Panasonic S1M2, with a mix of lenses — Leica R, Canon FD, Laowa 11mm, a Petzval, and a B4 zoom lens.
I'd love to know which films' greens you all like. And I'm curious how my short film feels to you. Honest thoughts are always welcome!
I have a chance to buy one of these cameras for almost the same price. The Lumix S5iiX with 2 lenses (20-60 kit and 50mm 1.8) for 2000 euros brand new and Canon R5 C with 50mm 1.8 RF for 2100, but demo version with 1 year of warranty. The last couple of days, I read a lot about both of these cameras and know almost everything about their specs, but I don't have any idea how they perform in real life.
In Lumix, positive points are:
Negative:
Canon R5 Cs positive sides:
Negatives:
Just to be clear, currently I have Nikon Z6(which I use with Atomos Ninja, but would like to have smth lite while traveling or doing random videos of my family) and 5 lenses (40mm f2, 24-70 F/4, Viltrox 85mm 1.8 Z mount, Sigma 105mm F, 50mm 1.8 G) and I can buy Z6 iii or even ZR, but the reason why I don't do it (but still considering) is a variable bitrate in h265 and extremely soft h265 in ZR. R3D is extremely good, but let's be honest, I don't have enough money to invest in storage. Yes, I can convert the files to h265 after color correction, but that's one extra step every time. Yes, Nikon said they're gonna give us a firmware update, but when it will happen (if it will happen at all) - nobody knows. That's the reason why I'm thinking about system switching. Maybe I missed smth specs wise, but what I listed above are the most what bothers me among others. Would like to hear your opinion, and sorry for the long text.
Coffee Shop is called Khroma in Deep Ellum
Shot this on the FX3 with DZO VESPID’s
My buddy Kais Marz directed this with our company Daydream Media and we created the look and the feel by getting heavily inspired from older perfume commercials and those take 5 gum commercials.
We did this with basically no budget, what do yall think?
UPDATE : so for everyone not understanding coffee, theres a specialty drink that’s offered at Khroma that’s basically a charcoal Latte, plus the whole chrome aesthetic of the shop, go give the shop a try unless you’re afraid…
Over the last few months I've been experimenting with various flashlights for cinema lighting. I also have a fairly full Nanlight kit, but am thinking of lighting that's backpack compact.
I'm surprised how good the light can be with the right modifiers, utilizing bounce, various diffusion materials, etc.
Currently I've focused on the Wurkkos ts-32 for it's nice even flood of 12 Nichia 519a emitters. It still had a wee bit of subtle green tint, so I placed Lee Zircon 804 disk just inside the bezel.
Good for bouncing off wall or ceiling to raise ambient level, off a white scrim, or through a 5-in-1 disk diffuser.
I've got 3 Wurkkos ts26s Nichia 519a 5k. I like these because they are a bit more directional than the ts-32, but they don't over-power and scream "lit with flashlights". Can look subtle for fill.
I haven't decided it the ts26s needs Lee Zircon 804 gel or not. I hate to put anything in front of those great emitters, but sometimes I wonder if there might be a wee bit of yellow/green tint there too. However, I haven't been able to get their bezels off, so I might just leave them well alone. Magnets in the end caps very handy.
The Wurkkos ts22 lights also very good for longer throw of more light. Can almost compete with the ts-32 for bounce, but not quite. I have 3 or these, with Lee Zircon 804 added to these too. Magnets in the end caps also very handy.
Recently added a Wurkkos ts-11 for very controlled beam to highlight items in a scene without significant spill lighting anything else. Love this little addition for the kit more than I anticipated. Its also got Lee Zircon 804 added, but it's noticeably cooler than all the others. I think it's closer to 6k and all the others are close to 5k. Wish it had a magnet rear cap as well.
Doesn't matter much since I'm using it to highlight, so the color mismatch isn't an issue for me.
Lastly, I have a couple of little Wuben medium white 5k e7 lights with a little piece of Lee Zircon 804 gel held onto them with a small rubber band between the two e7 emitters. These are great for little scene accents here and there. And the magnet caps are great. I also love that they are an octogon shape so they don't roll off and can be positioned to aim up at about a 45deg angle or straight.
I've got the fitted silicone domes for the ts-32, ts26s, and ts22 lights... that are a lot more useful than anticipated.
I did add a small Nanlite Miro 30c for when I need small, but great color accuracy, then augment with the flashlights.
To be clear, this isn't about trying to do cinema lighting with cheaper lighting. I already have a fully COB kit and all the modifiers. My interest is in lighting that:
Are there any other lights along this line I should be looking at for this use in cinema/documentary and/or photo still lighting?
Everything in these shots have a unique diffusion filter to them, what kind of diffusion filter is this? It reminds me of oil paintings. This is from the Collide - Howie Day music video.
Just started film school again at nearly 30s. Here is some of my most recent work at DP/Camera.
Mostly shot on FX3 and FS7, Blackmagic Pocket 6K, with GM Primes and Zoom mostly and various cine lenses.
Edit: Thank you all so much for the advice, coming here thinking I am gonna get blasted on my cinematography but ended up getting so many good advices on editing, because I am doing edits by myself so yes there is still many room to change!
Buenas, gente. Llevo unos días dándole vueltas al fenómeno de Obsession, la nueva película de Curry Barker respaldada por Blumhouse y Universal, y quería abrir debate por aquí. Creo sinceramente que el cine de suspenso contemporáneo está haciendo algo brillante: ha dejado de filmar el romance como un refugio seguro para empezar a retratarlo como lo que muchas veces es en la intimidad, una extensión de nuestras peores neurosis y vacíos existenciales.
El gancho de la película parece el clásico tropo de terror sobrenatural: Bear, un tipo atrapado en una fijación enfermiza por su amiga de la infancia, Nikki, usa un misterioso objeto para alterar su voluntad y obligarla a amarlo. El artefacto funciona, pero con trampa: en lugar de enamorar a la Nikki real, genera una copia artificial obsesiva diseñada solo para adorarlo. Hasta ahí, una de miedo de manual.
El giro magistral de Barker, y donde creo que la película se vuelve rupturista, es que traslada el conflicto a un terreno estrictamente psicológico y ético. Lo terrorífico no es el objeto mágico; es la respuesta humana. Bear sabe perfectamente que la Nikki real está anulada y sepultada bajo un simulacro artificial. Y aun así, decide no hacer nada. Prefiere convivir con una mentira prefabricada y tóxica antes que enfrentarse a la dolorosa realidad de no ser correspondido.
Para mí, esta inacción voluntaria destapa la tesis más violenta y honesta del filme: el egoísmo radical del obsesivo. La película destruye por completo el mito del sacrificio romántico; nos demuestra que detrás de esa supuesta devoción no hay amor por el otro, sino una adicción desesperada a su presencia para validar el propio ego. Es una crítica feroz y una sátira implacable a nuestra sociedad actual, crónicamente insegura y adicta a las identidades artificiales, donde nos enamoramos de perfiles curados en redes sociales y proyecciones ideales con tal de no mirar hacia dentro y descubrir que estamos vacíos.
He dejado más info sobre lo que digo en este enlace, donde he publicado un análisis técnico y cinematográfico bastante más extenso desglosando el subtexto psicológico de la cinta y su sólida estructura de producción: https://elparaisocinematografico.blogspot.com/2026/07/la-jaula-del-simulacro-por-que.html
Más allá de esto, quería dejar la pregunta abierta a la comunidad para ver qué os parece este enfoque del género. ¿Creéis que el thriller psicológico actual funciona mejor cuando abandona los monstruos tradicionales para convertirse en un espejo de nuestras propias miserias relacionales? ¿Qué os pareció la escalofriante postura del protagonista ante el simulacro? ¡Os leo en los comentarios, abro debate!