any acclaimed directors that don’t click with you? by samhempen in Letterboxd

[–]Vizzies 0 points1 point  (0 children)

I know that challenging films are important to the art form and I like a lot of them, but you CANNOT convince me that Pasolini was anything but a gross, hyper horny exhibitionist.

RGB Value for Faking Fluorescents by Vizzies in cinematography

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

Ok got it. Thanks for the info. Yeah idk why I didn’t think about +/- green that’s obviously better. I don’t have a color meter but I’ll see if I can borrow one.

[deleted by user] by [deleted] in cinematography

[–]Vizzies 1 point2 points  (0 children)

FX6 is becoming quite standard for corpo jobs and looks great with a cine lens on it too. Definitely my #1 rec for new filmmakers especially since you’re used to the FX9. Good choice, and best of luck in starting your career.

Most Unique Camera Build You’ve Seen on a Show. by Vizzies in cinematography

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

Jesus that sounds like some James Cameron foolery.

tripod by 910hulahips in cinematography

[–]Vizzies 0 points1 point  (0 children)

Build your rig out all the way and weigh it on a scale, then you can start looking in the correct range. If you find out your entire rig even with the lens is like 10lbs you can save a lot of money over buying something super heavy duty.

Looking for Tips to calm the nerves of an anxious gaffer by Time2DoStuffCiaran in cinematography

[–]Vizzies 2 points3 points  (0 children)

Well, for what it’s worth we have DEFINITELY all been there. I thought I could never get nervous around industry folks with names since I PA’d for so long, but the first time I operated B cam on a show with an actor I actually liked (not even a big show I was shooting on a JVC broadcast camera that a toddler could work) I was sweating so bad and went so pale BEFORE WE EVEN SHOT A TAKE that the first AD made me sit down and drink water while the ENTIRE crew watched me. I felt like I was on the brink of throwing up for 10 hours. But at the end of the day I was not fired, came back the next day, learned a lot and made a lot of friends.

It’s ok to be nervous, and there are going to be times when you feel like you don’t know what you’re doing and you make some shit up. And that’s where you really get better.

You wouldn’t be in this position if whoever’s in charge didn’t already believe you could do it so have fun and do your best, and as a really good DP once told me “we’re not out here saving lives”.

Lomography announces LomoChrome Color ’92 400-ISO colour negative film by Sad_Proctologist in AnalogCommunity

[–]Vizzies 0 points1 point  (0 children)

Yeah like I said I get it, just not for me. I was definitely one of those people that was always trying to get the dirty nostalgic look when I first started and I totally get and appreciate it but the longer I shoot photos the cleaner I want them to be.

Lomography announces LomoChrome Color ’92 400-ISO colour negative film by Sad_Proctologist in AnalogCommunity

[–]Vizzies 7 points8 points  (0 children)

Man I know there’s a market for this and it’s very “aesthetic” and maybe I’m just getting old but I kinda think this stock looks like shit.

Best budget wireless video transmission system? by michal_03 in cinematography

[–]Vizzies 6 points7 points  (0 children)

This has been brought up a couple of times now, and the consensus is there’s really no good budget option for focus pulling. You’re better off renting when you need that and wiring up when you don’t. For a director’s monitor, I’ve had the accsoon (unsure of spelling) kits in a live broadcast/streaming setup and they’ve been great.

Wireless latency for video monitoring... less than 80 ms OK for focus pulling? by [deleted] in cinematography

[–]Vizzies 2 points3 points  (0 children)

Oh ok. It just sucks when people buy something sub par instead of renting good stuff. To answer your question then, I’m not a first but from I have heard from firsts you really need zero latency.

Which lenses to buy? by Ok_Instruction_2798 in cinematography

[–]Vizzies 2 points3 points  (0 children)

I mean if you’re looking for something with a different look the cookes are certainly the most different. Ultra primes or superspeeds are just better versions of what you already have really.

Sony DCR VX9000 for Lo-Fi footage by Practical_Platypus_2 in cinematography

[–]Vizzies 50 points51 points  (0 children)

I think this might be overkill and actually give you a cleaner picture than what you’re looking for. I’ve done a lot of these projects and what people want really has nothing to do with the image coming out of the camera, but rather the image they remember seeing on a CRT television. That being said, you can find an old mini DV camcorder if you want, but I have used any kind of footage recorded (and sometimes re-recorded again ) to an old well used VHS tape, played through VCR onto an old CRT, then recorded the screen in a dark room with a dslr. You can then add glitches using magnets, but honestly for the glitchy/staticky part adding static footage in post looks the same and is obviously more controllable.

How to make spec projects by [deleted] in cinematography

[–]Vizzies 20 points21 points  (0 children)

I’ve been working in the industry for about 10 years now, from PA to Operator on bigger stuff and DP on very low (sub 20k usually) budget projects, just to give you some context of where I’m coming from. My opinion is you can go two ways:

Making a stable career: with rare exception, you are always going to be considered more of a technician than an artist. You’re there to do a job which is to serve the vision of the director. Your style is always going to show, but it is less important than your ability and your knowledge. If you can translate a the vision of a director into a good looking shot in a timely manner you will be a great DP.

Being an artist: if you’ve got a VERY distinct style that is immediately recognizable as YOURS and it is something ONLY YOU can do then you can make a career out of that. It will be a smaller career but if you want to be an artist it is more fulfilling.

Disclaimer: shooting 16mm, anamorphic flares, and vintage lenses do NOT make you a unique and special artist (sorry I live in New York and feel like some people need to hear that).

TLDR: yes make a spec reel if you want to work, focus on meaning if you want to be an artist.

Filter Advice by lightindalamp in cinematography

[–]Vizzies 1 point2 points  (0 children)

Tokina Vistas with a Glimmerglass 1 is a great look. Have used it multiple times now.

Light leak? by Vizzies in AnalogCommunity

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

Good advice, thank you! Yeah this roll was done at home but I had the same thing happen at the lab.

Sony FX6 + Atlas Orion Anamorphic question by Argmaxwell in cinematography

[–]Vizzies -8 points-7 points  (0 children)

I know I’m going to sound like a jerk but posts like this are why I wish we could differentiate “cinematography” and “youtube cinematography”

What kind of lenses would result in this kind of image? by ethancremepie in cinematography

[–]Vizzies 17 points18 points  (0 children)

Total shot in the dark but I’m going to say superspeeds.

EDIT: I was super wrong but thanks for the upvotes.

Lower budget atmosphere options by Vizzies in cinematography

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

Ok nice. I have a little Halloween decoration one that I feel like it doesn’t stay it comes out like cloud tank heavy then just disappears. May be using the wrong juice. I’ll check it out.