What really pulls you into someone's cinematography reel fast?
What really pulls you into someone's cinematography reel fast?
I'm about to buy a new camera, I've got a limited budget max 2.500€ (more or less 2.800$) there are 3 option: Canon 7D Canon 5D II or Canon 5D III used. What are your impressions? What type of film do you take it with?
thank you Matt and Mark, i'll check them out
Just to chime in again.... The issue with buying a lens is that it further embeds you in the manufacturers ecosystem. From this discussion, it is clear you are not yet set on a destination technically...
Expand commentJust to chime in again.... The issue with buying a lens is that it further embeds you in the manufacturers ecosystem. From this discussion, it is clear you are not yet set on a destination technically but you do intend whatever step you take to be just the next step to be followed by others. That implies keeping your options open. Buying a DSLR lens is not a good long term investment if you don't plan to stay with the DSLR platform. This is particularly true give that most lenses can be rented for a reasonable price. I have a great many Canon lenses, most of them L level, and I'm very happy with the 1Dx but I mostly do still photography and, for that work, I'm not switching from Canon any time soon simply because that would mean a lot of stranded investment. So here are two questions I always ask myself: 1) Where do I want to get long term and how does this purchase fit with that goal? 2) What is it that I need to do but my present equipment prevents or makes awkward and how does a planned purchase resolve that issue? If I can't answer these questions, I tend to make do with what I have
And agree with Mike again! I/we decided long ago NOT to make a camera purchase (other than the aforementioned GH2s) simply because the technology is ever changing. Gone are the days when you could buy...
Expand commentAnd agree with Mike again! I/we decided long ago NOT to make a camera purchase (other than the aforementioned GH2s) simply because the technology is ever changing. Gone are the days when you could buy an Arri 35-3 (for MOS work) and an Arri 435 or 535 and never need any other camera - ever! Of course you'd be spending a half-million on a couple of those, so their was always that consideration ;) What you buy today is going to be outdated before you have it paid off in most cases. We saw that with the RED One when it first came out here in this area (SF Bay). I have lots of friends and know of a lot more who put out a significant chunk of money for that camera thinking they were going to rent it out (along with themselves as a DP) only to find that there were so many of them in the area, they couldn't really get much of a return on their purchase. Then of course the camera went through some pretty significant changes, so they had to constantly purchase "newer/better/faster" in order to keep up. It ended up driving many either broke or just to cut their losses and sell their rigs. So in my humble opinion, you are MUCH better off to either just rent the gear (assuming you are living in an area that has a lot of film production activity) or buy smart - get yourself some REAL cine-lenses for one. That typically means PL mount lenses (or Arri BL and/or Panavision mounts, but few newer cameras use these, so be very careful here), particularly if you are going to be going the used route. PL mount lenses are ONLY designed for one thing: Making films. The great thing about these lenses too is that they really hold their value (which is good and bad I guess in that they are still expensive on the used market). Most very old lenses, if handled and cared for properly, will outlive you and I and our grand-kids (and theirs). I have some fabulous lenses I have purchased on eBay over many years that I could sell tomorrow for at least what I paid for them, if not more. I have a Cooke Panchro 20-60, a Angenieux 25-250 (yes, it's a MONSTER) a Variogen 20-40 and a nice collection of primes that I wouldn't sell for pretty much any amount of money, unless I get out of this business all together. All were bought at a SIGNIFICANT discount on eBay, (oh, I did purchase a pretty incredible Century Optics 14mm prime that I use WAY more than I ever thought I would, from a guy on Craigslist). Right now too you can get some really incredible deals on lighting gear as many shops are starting to equip their trucks with more and more LED lighting. Maybe build your own Kino Flos (they are just so ridiculously expensive, but you can't really shoot a film without them). Pretty much everything else though makes sense to just rent unless you have a place to keep it all (we live on a boat, and our one storage unit is stuffed to the gills with other equipment). But buying a camera that will be obsolete in a couple years? Let someone ELSE buy it and you just rent it out... Always nice to have something small and simple like that GH2 (or better yet the GH4 when it comes out) for those times when you are not wanting to get production insurance to rent a kit for a one-day pickup! Two cents worth again... Matt
Oh and yes, we have PL mount adapters for our GH2s. That Angie 25-250 looks pretty silly when attached to the camera body (the lens itself is probably pushing three feet in length and maybe 15-18 poun...
Expand commentOh and yes, we have PL mount adapters for our GH2s. That Angie 25-250 looks pretty silly when attached to the camera body (the lens itself is probably pushing three feet in length and maybe 15-18 pounds!), but it works! I've never actually used the Angie on a project, to be honest, but it was dirt cheap - estate sale and it wasn't listed correctly on eBay, so I took a gamble...
And, the Canon c-series DO have a PL lens variant. If you want to go Canon and have some hope of lens longevity. All of this talks against an EOS upgrade and for rental while saving for a 'proper' bod...
Expand commentAnd, the Canon c-series DO have a PL lens variant. If you want to go Canon and have some hope of lens longevity. All of this talks against an EOS upgrade and for rental while saving for a 'proper' body. I was at the Canon cinema launch in Toronto and have to say they were VERY impressive. and competitively priced to similar bodies. The c500PL (which is 4K / 10bit RAW) would be my choice except that I have a full complement of EOS lenses and even then, as pointed out, they are not really the best for video.
We use cookies to ensure that we give you the best experience on our website. By using this site, you are accepting our cookie policy
4 people like this
How well you light the frame corresponding to the story and composition,choose a bgm that reflects the sequence plus include creative shots that actually triggers for movement of the camera.
2 people like this
Sorry for the delay everyone, it's been a busy week! I love everyone's responses. It's been one of the things I criticise myself over the most and there's always room for improvement. I'll have to update mine and share on here and get some really awesome constructive criticism. :)
2 people like this
Effective coverage of a scene, period. Too many reels today are " cool shots cut to music". Unless you are shooting a music video, that tells you very little about the DP at all, it's just an editing...
Expand commentEffective coverage of a scene, period. Too many reels today are " cool shots cut to music". Unless you are shooting a music video, that tells you very little about the DP at all, it's just an editing reel. Anyone can turn some knobs, set 2 lights and get a stellar looking image in 2018. One thing that defines a skilled DP in a reel is a sequence of intentional, chosen coverage of a scene that is both creatively story- effective and visually consistent. When you see that, you can then investigate from references if they are fast, efficient, collaborative, good natured and so on. Most of all, remember a reel never tells you who to hire, only who not to bother with.
Nothing draws anyone into a reel. They had one purpose; to assuage directors and producers long enough to meet face to face. To suggest reels are good for nothing is to give them credit for something....
Expand commentNothing draws anyone into a reel. They had one purpose; to assuage directors and producers long enough to meet face to face. To suggest reels are good for nothing is to give them credit for something. The face to face meeting will get you hired, the reel will keep that from happening.
People who watch reels need to ask questions like: what was the budget, how much time did it take, what was the crew size, what was the intent of the scene and the intent of the shot within the scene, and the big question… why did you include this in your reel? This assumes that the person asking the questions would have some understanding of the answer. Without answers to these simple revealing questions just watching a reel means nothing. I have never been asked any such questions. Ever. Hard not to be contemptuous of the whole situation.
2 people like this
I always demand to watch full length films. Anyone can get great shots by accident. Seeing how a DP lights, frames from scene to scene you can tell if they've got the chops.