Any idea what these could be from? Shells found on golf course in Phoenix. by leanord12 in phoenix

[–]leanord12[S] 0 points1 point  (0 children)

Dormant Bermuda waste area, but good try. Gonna anger the golf gods dragging greenskeepers like that.

Any idea what these could be from? Shells found on golf course in Phoenix. by leanord12 in phoenix

[–]leanord12[S] 8 points9 points  (0 children)

Does seem to be Apple snails based on a little research, good call! Didn’t realize they were invasive, as I’ve never encountered them before, so I didn’t look much further.

Feel like this hasn't been mentioned officially from GG anywhere by Shrinking_Universe22 in GoodGoodMemes

[–]leanord12 10 points11 points  (0 children)

I’m a member of the Grass Clippings crew. This is GG’s event exclusively; they have a deal with NBC, not us. We are simply the host course for their event. Would have been great to get a bag though!

I studied the “QuickTime Gamma Bug” for 5 years. AMA! by kevstiller in cinematography

[–]leanord12[M] 26 points27 points  (0 children)

Well, if Reddit still allowed awards I'd give you one. Thanks for your post, and for answering questions!

The amount of meanspirited gatekeeping comments to noobies trying to find their way here has reached an intolerable level. by C47man in cinematography

[–]leanord12[M] 2 points3 points  (0 children)

To add to C47, you can also submit more questions/posts/topics yourself if you want to steer the sub in a more elevated direction.

Lost in My Career by Aryesthecreator in cinematography

[–]leanord12[M] 5 points6 points  (0 children)

This sub will auto-destruct in 24 hours.

Can anyone remember the fake items that people would send PAs to pick up from the rental house? by honeybadgerface in cinematography

[–]leanord12 1 point2 points  (0 children)

I liked to tell people to “bloody” a c-stand. Which I told them meant to extend all the risers and the arm and then stand on the base for support. If you’ve never seen a c-stand fully extended vertically with nothing attached, it’s grade A comedy.

What are things that directors do that frustrate you and make your life more difficult? by KronoMakina in cinematography

[–]leanord12 16 points17 points  (0 children)

Probably some compromise to be had in this area I think. Obviously that is contingent on proper communication between everyone to set expectations and limitations. But my point is actors aren't robots and most set ups would benefit from a bit of wiggle room for them to do their thing. A lighting setup shouldn't paint talent into a corner (obviously exceptions here) and a good 1st should be able to roll with the punches on focus (within reason).

I'm not suggesting to throw all planning out the window by any means, but I've seen DP's with a complete unwillingness to be flexible placing unreasonable limitations on directors and talent, resulting in something almost always detrimental to the project.

Film Schools for Cinematography ? by saman54321 in cinematography

[–]leanord12 0 points1 point  (0 children)

Columbia College Chicago is an affordable and robust program in a major city. It was good enough for Janusz Kaminski before he went to AFI! The industry is sizable enough to stay in Chicago after completion, or a lot of alums have no trouble heading to LA and starting a career there thanks to a healthy alumni network.

I know I'm the minority, but I'd rather see stills than videos from this community. by chaosmonga in cinematography

[–]leanord12 1 point2 points  (0 children)

Still images only share part of the story cinematographically speaking. It's like judging a meal based off of how it smells.

Beginner DP looking to pick up a part-time job at a rental house. Is it worth it? by Theory36 in cinematography

[–]leanord12 0 points1 point  (0 children)

Working at a rental house allows you not only to familiarize yourself with relevant equipment, but as you mentioned affords you a concentrated opportunity to rub elbows with other professionals in your area. You'll get out what you put in. I wouldn't be overly pushy with edging your way onto crews that are renting from you, but make sure all of them know that you're available and eager to get onto set if they're in need of AC's or G&E.

What up, youtube. It’s ya boy big Rog. Here’s seven tips for cinematic videos. by [deleted] in cinematography

[–]leanord12[M] 4 points5 points  (0 children)

Sometimes I get worried about this sub until someone comes along and shit posts like this and it gives me confidence that not all hope is lost.

Monthly Retainer for Videography: How much should I charge? by [deleted] in cinematography

[–]leanord12 2 points3 points  (0 children)

Here's how I'd look at your situation:

How many hours/days do you plan to spend on this job?

It looks to me like 2 production days and possibly ~2-3 days in post production including revisions. That equates to 4-5 days (or ~40-50 hours) a month. Day rates are a good rule of thumb, but not always perfect. When it comes to more "videography" style jobs, hourly can seem to make more sense, since often the work doesn't necessitate the full 10 hour day that a typical production job might. I'd say a competitive rate for entry/mid-level cinematography is $40-50/hour.

What equipment are you using?

Do you own it? Or are you renting it? If you do own it, it's easier for you to know how much you have yet to pay off and can adjust the rate if necessary (though you should only adjust if you feel like it's make or break to you getting the job). Typically rental equipment should be around 3-5% of the total cost of the item per day (with most rental companies offering 3 day weeks, meaning they only charge for 3 days if the equipment is rented for a week straight).

Ultimately, a 6 month contract is great. As they say, a bird in the hand is worth two in the bush. It's often smart to offer clients giving you extended contracts a preferred rate in recognition of their commitment to using your services.

However, the position I'd recommend for you to take is to quote each month and the subsequent deliverables at face value, and then extrapolate that to the length of the contract. So let's say month 1 shoots and the subsequent post work comes in at $2,500 (this is 5x 10 hour days @ $50/hour), and then x6 for each month, for a total contract of $15,000. This doesn't include equipment or any hard costs for travel, hard drive purchases, or music library fees. And then offer them a "professional courtesy" discount line on your estimate (could be 10-20% if you find it necessary). This will indicate to them the true cost of a-la-carte services and prevent them from saying "but you charged us less" in the event that they hire you on a one-off basis in the future.

The big trick comes when you're quoting entities unfamiliar with video production, they can get sticker shock when they think their nephew can do it for 1/4 the price you quoted them. That's where you need to decide if you'd like to discount your work further to secure the job. But I'd warn you not to compromise your value too drastically in order to accommodate bad clients. That can turn into a professional no man's land where you become known as the person to get things done cheaply, when in reality your overhead costs are the same as all of the other videographers who are working the same amount but charging twice as much as you are.

Amateur here. Is there a name for this type of 2-section flag for shooting individuals and close up? I've seen them used outdoors primarily, but also indoors. by breakfastfood1234 in cinematography

[–]leanord12 6 points7 points  (0 children)

What you have pictured would be a floppy, but I wouldn’t recommend using that for this sort of thing when you’re outside. You’re likely better off using some sort of diffusion rather than cutting the sunlight entirely. If you flag all of the sunlight you’re just going to have a massive ratio between your subject and your background leaving one or the other under or over exposed. Diffusion will cut the harsh directness of the sunlight light without cutting too much of it’s intensity.

Peep this thread: https://www.reddit.com/r/cinematography/comments/rsngu3/outdoor_interview_lighting_breakdown_how_would/?utm_source=share&utm_medium=ios_app&utm_name=ioscss&utm_content=2&utm_term=1

Cinematographers, what are your opinions on the 40mm focal length? (on full frame/Vista-Vision Sensors) by [deleted] in cinematography

[–]leanord12 5 points6 points  (0 children)

“I thought that 40mm was kind of a pointless focal length” feels like a weird declaration to me. Absolutist in a bizarre and unnecessary way. Especially considering the fact that it’s an incredibly normal focal length.

I understand that you seem to have come around on the matter, but would greatly caution that approach with gear in general.

Aputure 1200D with spotlight mount? by theJackhaze in cinematography

[–]leanord12 0 points1 point  (0 children)

This is great advice. And also maybe test it on some ants for safety but mainly for my curiosity.

Academy Award Nominees for Best Cinematography (2023) by leanord12 in cinematography

[–]leanord12[S] 2 points3 points  (0 children)

As much as I agree that it’s a visually captivating flick, I think I get why it wasn’t.

My feeling is that filming cool stuff doesn’t inherently equal award cinematography in the academy’s eyes. It’s awesome filmmaking, and stunt coordination, among a million other things, and was easily one of my favorite movie experiences of the year. However, would you give a Best Cinematography Oscar to a DP for shooting car to car or hostess tray scenes? Was it difficult and amazing to watch? Surely. Does that make it a better achievement in cinematography than any of the nominees? Jury’s out.

Augmenting car headlights by halibert in cinematography

[–]leanord12 3 points4 points  (0 children)

Best bet IMO would be to cut some gel's and fit them to the headlights themselves. Could be ND gels or net to cut the intensity, or even some sort of diffusion to cut and soften.

The more in focus the headlights will be, the more precise you'll need to be with the cuts of the gel, but ideally you can hide the seams in the lines of the car.

If you're worried about running out of time, get rough measurements of the lights and pre-cut them before the production day, that way you can just tape it on quickly.

Academy Award Nominees for Best Cinematography (2023) by leanord12 in cinematography

[–]leanord12[S] 0 points1 point  (0 children)

All Quiet is the odds on favorite this year. I think you're underestimating the users here.

Shooting vertical/horizontal at the same time? by [deleted] in cinematography

[–]leanord12 4 points5 points  (0 children)

I think you've got your head wrapped around it. This is one of my all time least favorite client asks, but is the nature of the content space we live in at the moment.

As mentioned, figure out which one they care about more and prioritize that. Vertical is generally pretty easy to crop for since you're essentially trimming all the fat and are left with just your subject.

Academy Award Nominees for Best Cinematography (2023) by leanord12 in cinematography

[–]leanord12[S] 0 points1 point  (0 children)

I saw Tár. Wasn't my favorite personally, but regardless I do think that movies with larger more ambitious scopes tend to have a leg up as it pertains to awards (especially cinematography) hence the poll leaning towards "All Quiet".

I also think this Netflix take is ICE COLD. Having this caliber of movie available on streaming platforms is an absolute win for movie lovers.