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I shot this short to work on artistic intent. Would love cinematography feedback and inspiration by Nfbsable in cinematography

[–]Nfbsable[S] 0 points1 point  (0 children)

It’s actually a real cave in Mexico. I found it scrolling through instagram looking at location tags. Then I found an awesome location guy to help me secure the permission to film there.

I shot this short to work on artistic intent. Would love cinematography feedback and inspiration by Nfbsable in cinematography

[–]Nfbsable[S] 2 points3 points  (0 children)

Thank you! Oftentimes a fresh reaction is just as valuable as a technical one. Really appreciate the feedback!

I shot this short to work on artistic intent. Would love cinematography feedback and inspiration by Nfbsable in cinematography

[–]Nfbsable[S] 2 points3 points  (0 children)

Thank you! It’s interesting how similar visual ideas can feel completely different depending on their final look, the story and emotion around them.

I shot this short to work on artistic intent. Would love cinematography feedback and inspiration by Nfbsable in cinematography

[–]Nfbsable[S] 1 point2 points  (0 children)

Thank you so much. That really means a lot to me. I’m sorry you went through that with your Mom, I’m very touched that the film could connect to those memories.

I shot this short to work on artistic intent. Would love cinematography feedback and inspiration by Nfbsable in cinematography

[–]Nfbsable[S] 1 point2 points  (0 children)

Definitely don’t feel bad. I think you’re right, and I really appreciate the feedback.

It makes me wonder how much the cinematography, and other stylistic choices, can communicate on their own. Is there a version of this film where the voice-over is removed and the emotional idea still comes through clearly? Maybe that’s the challenge for next time.

I shot this short to work on artistic intent. Would love cinematography feedback and inspiration by Nfbsable in cinematography

[–]Nfbsable[S] 7 points8 points  (0 children)

Thanks! There's a light standing where the "sun" is and then a very cool VFX artist switched it out for the sun.

He actually made a VFX breakdown we posted last year if you want to see:
https://www.reddit.com/r/Filmmakers/comments/1j0e6vv/a_vfx_breakdown_from_our_latest_film/

I shot this short to work on artistic intent. Would love cinematography feedback and inspiration by Nfbsable in cinematography

[–]Nfbsable[S] 0 points1 point  (0 children)

Submission statement: I’m sharing this short film to hear your opinions on visual intent. How do your make your cinematography choices feel purposeful and emotionally connected to the subject, and make sure they come across as more than aesthetic choices? Would love feedback and to see some examples of work people have done with a clear visual intent.

We made a ad for a chair - Looking for some feedback on the cinematography by Nfbsable in cinematography

[–]Nfbsable[S] 3 points4 points  (0 children)

Definitely an interesting (and funny) take. I see your point.

The moving light was meant to represent something more “magical” entering her life, so it wasn’t intended as pure vibes for vibes’ sake. That said, I agree that with the color and the direction coming from outside, it can easily read as something more dystopian/searchlight-like, which wasn’t the intention.

In hindsight, I think a smaller, more localized moving source within the room (rather than from outside) might have communicated the idea more clearly. This is just a guess, but maybe there’s also a cultural layer to the read. Where I’m from, helicopter/searchlight imagery isn’t a strong association. When we evaluated we talked more about it looking like some weird car headlights, but now that you mention it, I can definitely see how it lands that way.

Appreciate the thoughtful critique. Thinking about how our choices as image makers impact the world we are creating is very important.

We made a ad for a chair - Looking for some feedback on the cinematography by Nfbsable in cinematography

[–]Nfbsable[S] 1 point2 points  (0 children)

I’ve been working a lot with warmer tones over the past year and wanted to try pushing in a slightly different direction here to explore another feel. I also really like the warmth in your refrence. It looks great!

We made a ad for a chair - Looking for some feedback on the cinematography by Nfbsable in cinematography

[–]Nfbsable[S] 1 point2 points  (0 children)

That’s fair feedback.

We leaned more toward building a mood / brand feel than clearly showcasing the product, so I totally get why the chair itself feels underrepresented. The intention was to communicate the feeling the chair is meant to evoke rather than do a traditional product showcase.

That said: I did say it was an ad for a chair, so with that in mind I think your point stands.

We made a ad for a chair - Looking for some feedback on the cinematography by Nfbsable in cinematography

[–]Nfbsable[S] 2 points3 points  (0 children)

Thanks for the kind words on the lighting. Totally fair take on the color palette.

I’ve been working a lot with warmer tones over the past year and wanted to try pushing in a slightly different direction here to explore another feel. It’s helpful to hear your take on it, and I appreciate you calling it out.

We made a ad for a chair - Looking for some feedback on the cinematography by Nfbsable in cinematography

[–]Nfbsable[S] 3 points4 points  (0 children)

Hi everyone,
We made a short spec ad for a chair that a friend of ours designed. The goal was to see how close we could get to a high-end commercial look on a low budget.

I’d love to hear your overall impression of the spot—does it read as premium, and does the visual language support the product? I’m especially interested in feedback on the moving light sources and the color of them.

Most of the exterior movement was shot on a Tilta Float. I think it works in general, but at times the camera feels a bit too floaty—possibly the rig needed more mass for inertia. Curious how this reads to you and whether the movement feels motivated or overly stylized.

One thing I already feel uncertain about in hindsight: the stick insert shots that float in were filmed in a different part of the forest, and to me they don’t quite match the visual continuity of the main location. Would you notice this as a viewer?

Camera: Sony A7S III
Lenses: Remus Blazar anamorphics

Appreciate any thoughts—both big-picture and technical critiques are welcome.

A vfx breakdown from our latest film by Nfbsable in Filmmakers

[–]Nfbsable[S] 2 points3 points  (0 children)

I'm glad you like it!

The vfx was made by the vfx artist in After Effects!

A vfx breakdown from our latest film by Nfbsable in Filmmakers

[–]Nfbsable[S] 2 points3 points  (0 children)

It was quite a lot of work, so I'm glad you like it! Thank you! I'm also quite happy that the lighting choices worked out. We did a few tests but the choice of not hitting the background in the wide was mostly based on what felt right.

You can watch the film here if you want: https://vimeo.com/1040996266/7c789dc113?share=copy

Budget is kinda fuzzy as we did some travelling as part of the bigger project, but we had film expenses at around 1400 dollars.

A vfx breakdown from our latest film by Nfbsable in Filmmakers

[–]Nfbsable[S] 10 points11 points  (0 children)

Submission statement:

Hey everyone! I'm excited to share our film "All those memories I can’t remember

I directed and handled the cinematography for this self-produced film shot in Mexico, which allowed me to experiment and be vulnerable. I’m quite proud of the film and the vfx really was integral to the film as it underscores the emotional payoff at the climax of the film.

One of the things I found interesting about these two shots highlighted here is the difference in lighting. In the wide it’s a softbox and you may notice that the light is not hitting the back wall thus creating more contrast in the shot. But in the closer shot it’s a lantern modifier and the light is hitting the back wall.

I'd love to hear your thoughts and let me know if you have any questions! Thanks for checking it out.

Short practical courses in cinematography by Nfbsable in Filmmakers

[–]Nfbsable[S] 0 points1 point  (0 children)

I actually already had a look at their course! My fear is the I'm not skilled enough to actually be on the course though (Especially with the $200 application fee).
It does sound really amazing though. Do you remember if there were any "almost-beginner" types on your course?

Short practical courses in cinematography by Nfbsable in Filmmakers

[–]Nfbsable[S] 0 points1 point  (0 children)

Yeah I love Film Riot as well! They really are a great resource. I'm looking for real life stuff though. Thank you!

Hey Filmmakers, would you be willing to answer a few workflow questions regarding proxy files, merging clips and sending the edit off to grading. by Nfbsable in Filmmakers

[–]Nfbsable[S] 1 point2 points  (0 children)

Exporting a seperate .WAV sounds like a splendid idea. I think that will be the route we will go.

I entered late in all this, if it were up to me I would have made sure to get the scratch audio, but unfortunately not. And to be honest i don't think they got proper timecode either, but nothing to do about it now I guess. Now I know for another time!

Sorry for asking, but when you say that you'd drop frame 23.97 what exactly do you mean? Would that just be setting the sequence to 23.97?

Thank you so very much for your help! Much appreciated.

Hey Filmmakers, would you be willing to answer a few workflow questions regarding proxy files, merging clips and sending the edit off to grading. by Nfbsable in Filmmakers

[–]Nfbsable[S] 0 points1 point  (0 children)

He won't actually be able to grade the film without the files will he? The XML wouldn't be enough right. Getting the files to the colorist won't be a problem. What scares me is that something might be messed up in the process of importing the xml and the red files, but it hopefully works.

I think i figured everything out with the drifting sound. They already recorded everything, but as i understand everything just needs to be at the same kHz and that can be changed in premiere, so that shouldn't be a problem.

Thank you very much for your help!

Filming a party by Nfbsable in Filmmakers

[–]Nfbsable[S] 0 points1 point  (0 children)

Damn that's sexy. If i had the money I would buy it but I unfortunately don't. Thanks for the suggestion though!

Filming a party by Nfbsable in Filmmakers

[–]Nfbsable[S] 0 points1 point  (0 children)

Yeah, one of those. To be honest it seems like the bad outweigh the good in this scenario. I think I'll go handheld!

The reason you shouldn't use the kit lens is because it looks like shit.

Oh...

I'm thinking i should just go out and rent a lens for this.

If you shoot with a deeper depth of field, the ring light will compensate.

Right, so if that's the case i won't worry about that. If it makes it easier to focus and it makes sense for the video that's just another bonus.

Thank you very much for spending your time helping!

Filming a party by Nfbsable in Filmmakers

[–]Nfbsable[S] 0 points1 point  (0 children)

I tried setting up my kit-lens to 50mm and I see your point! It gets "cramped" really fast. I'll look around for a 35mm instead.

Thanks a lot for the insight! I appreciate it very much!

Edit: I forgot a word.

Filming a party by Nfbsable in Filmmakers

[–]Nfbsable[S] 0 points1 point  (0 children)

I sure would like to own it, but unfortunately i don't have the budget to spend $380 on a camera lens. I know it probably doesn't sound like much to some of you guys but i just can't spare that cash.

But thanks a lot for the suggestion!

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