The place to discuss, share content and offer advice and tips on all things lighting, framing, cameras, lenses and technique
It is critical to understand what the emotion is. If it is joyful and happiness, all the light I can muster. The more despair a character gets the less light they get. The more intense the feeling the...
Expand commentGreat answer Nathan Woodward !
It has been my experience that many times the color palette of a film is decided between the film's Director and it's Art Director. It's is too big of a decision to saddle the Director of Photography...
Expand commentThis is actually one of my favorite topics of conversation.
First, foremost, front and center: The choice of your lens is drastically more important than the choice of your camera. The camera can cost...
Expand commentYou're posting great questions, Mario Leone!
As my time here winds down, I wanted to say thanks to everyone for your questions. They were all amazing and very concise.
Special Thanks as well to everyone at Stage 32 for setting this up and continuing to support and educate filmmakers. this site is invaluable and the wealth of knowledge is a cli...
Expand postThank you, Neil Watson for spending the time with us. It was an awesome AMA and there were lots of things to learn from it. Looking forward to staying in touch with you. Happy New Year!...
Expand commentThanks again for having the AMA, Neil Watson. I learned a lot. I'm already subscribed to your YouTube channel. I'm gonna check out more of your videos, especially POOL. Have an incredible 2024!...
Expand commentThank you, Neil Watson!
Neil Watson will be having an AMA here in the Cinematography Lounge on January 2nd!
Neil is an award-winning director at Film Dreams Inc, cinematographer, camera operator, producer, writer, and winner of Stage 32’s Short Film Contest 2023. He worked on “Avatar 2,” “Avatar 3,” “Dancing with the Stars,...
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Hello dear community,
Here’s news of some exciting AMAs for January.
In the Cinematography Lounge:
Tuesday, January 2nd in the Cinematography Lounge- Neil Watson, Director, Cinematographer, Camera Operator (AVATAR: THE WAY OF WATER), and Winner of Stage 32's Short Film Contest 2023, will be answering...
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Hey, DPs!
Don't miss out on Tuesday's upcoming Ask Me Anything, right here in the Cinematography Lounge with Filmmaker and ICG local 600 Camera Operator (Avatar: The Way of Water & Avatar 3), Neil Watson! Neil will be here all day answering your questions about, "Working as a Professional Camera Oper...
Expand postLooking forward to this AMA, Ashley Renee Smith! All of them!
Stage 32’s founder and CEO, Richard “RB” Botto, shares three videos in today’s blog.
In the first video, actor and filmmaker Peter Billingsley talks about what it was like making A CHRISTMAS STORY and shares behind-the-scenes moments.
The second video digs into the filming process of ELF.
In the th...
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Last night I came out of the cinema buzzing, with thanks to Cary Grant and Audrey Hepburn who were of course aided with the screenplay by Peter Stone and the Cinematography of Charles Lang.
The festival is a presentation of the University of the West of England and the audience was pointed towards th...
Expand postI haven't seen "Charade," Geoff Hall, but the cinematography in it is phenomenal. I noticed that in the video about the witty dialogue. The interviewer asked Charles Lang, "What special lighting probl...
Expand commentMaurice Vaughan ah, I see. Interior locations will have their own lighting sources which may conflict against how the film is being shot and so there may be lots of control issues for existing light a...
Expand commentOk, gotcha, Geoff Hall. Thanks for explaining. I thought cinematographers only have problems with lighting when filming outside because of the sun. Inside, the sun isn't an issue.
I was recently involved in a project where basically the challenge was to make a short film within a month based on a theme. It's all about people pooling their time and passion to make it happen, the...
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There is a book called Master Shots - get it.
Now, this should be a collaborative conversation between the director and the cinematographer. I have never been in a situation where a director has let me...
Expand commentThere is a book called Master Shots - get it.
Now, this should be a collaborative conversation between the director and the cinematographer. I have never been in a situation where a director has let me go all willy nilly on my own, nor have I ever let a cinematographer do that when I'm directing. That being said, there was one time when I had an emergency and had to actually leave the set (never do that unless someone is dying, and they were) and my cinematographer, because we had the conversation before hand, a bunch of times, knew exactly what I wanted and delivered it.
That being said, the first rule of camera movement is that it must be motivated. Now, I've been on a set where the director just didn't want the camera to stop moving. Keeping your job is good motivation, but just because is bad directing.
Anytime the camera moves it should be to follow the action or reveal something. For example, two people exit out a door and they leave the credit card on the table. Pan to them leaving and tilt down to reveal the card they forgot.
People are walking down a hall? Good use for a dolly.
Crazy psychotic warzone, sounds like a steadicam or handheld is a decision to make, for a warzone you're probably going to want handheld, for following a person up a flight of stairs your probably going to want a steadicam.
End of the movie with a hero riding off into the sunset? Boom up or Drone it.
I hope that helped answer your question. :-)
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Should always be based on the the scene or story. Coming up we have a fight scene. Although the show I am on we are on dollies the majority of the time, stable shots, the director would like to use ha...
Expand commentShould always be based on the the scene or story. Coming up we have a fight scene. Although the show I am on we are on dollies the majority of the time, stable shots, the director would like to use hand held cameras for the fight to get a more frenetic look. On Animal Kingdom we almost always used hand held cameras, that was the look chosen for the show. Used a crane, like Nathan said if it was a big establishing shot or something that needed a bigger scope. Steadicam if it was more of a walk and talk. This is based on what I've seen working as an AD and working with the directors and DPs.