Hi.  I started shooting RAW footage recently and hit a brick wall.  It seems hardware rated for 4K120 often cannot reach that benchmark reliably. For our Canon XF605 (can't output RAW), AVC and MP4 image quality is in some way tied to the scene complexity.  Panning through a complex scene like an audience or 50 feet from trees drastically increases the 605's compression workload. Regarding 4K120, I first thought the Ninja+ was overrated and could not reliably handle RAW at 4K120.  But now I'm beginning to think it is the Z Cam E2-M4's problem.  Lots of juddering when p ..read more

Two 100 ft. units of Kodak VISION3 500T, 7219, were returned to Kodak in Rochester by UPS in mid-March.  Apparently, these became unhinged with their shipping information and UPS returned them to us hoping that we could assist in finding their rightful owner.  We reached out through the Kodak Labs and our group of Sales Representatives but have not heard of any student or productions that were reporting film that was lost. Since that time, our Rochester manufacturing processing lab has processed the two rolls and we have confirmed that both do contain images, but that there are no sl ..read more

This is just the good old principle of exposure compensated LUTs on an external monitor. I guess most people here are familiar with it: create “Log to Rec709” LUTs that darken or lighten the image by 1 stop increment, send them to the monitor, and use them as an EI scale instead of the DSLR analogue ISO (which you leave at the base value). The point here is to create LUTs using maths and DaVinci Resolve. There may be simpler ways to do this with CSTs, but this is a topic I know nothing about. And part of the fun was to do it myself as a pedagogic exercise. What I tried before: 1- shoot a scen ..read more

Lightworks are running a programme on aspects of video creation over a number of months. Each month covers a different aspect, it's not about how to use Lightworks, but each area in general. It could be of interest to students and new filmmakers, since it does a wide range that could serve as an introduction. January covered video editing: https://lwks.com/blog/recapping-new-year-new-edit-a-month-of-video-editing-tips-and-tricks February covers audio: https://lwks.com/blog/recapping-audio-month-a-month-of-music-and-sound-filmmaking-advice March will cover "Learning From The Best. Celebrating O ..read more

Good News For Aspiring filmmaker!!!!!!!! This is Chitranshu Tapas, I am an aspiring filmmaker and a storyteller.  I and my International filmmaker friend are creating an online international free-community of filmmakers. In this group various film disccusions, online screenings of films made by the participants and Q&A pannels would be conducted. We can all help each other in accomplishing our dream of telling stories with each others guidance. You have such a great platform, where seek to be encouraging filmmakers if this idea could be shared through you we can take up the lead. To j ..read more

Hello. I am thankful I found this group. My daughter is a junior in HS and interested in a career behind a video camera. She thinks that she may want to work on a film set. However, it does not appear she is interested in production and or directing (although honestly I'm not sure we truly understand what all that entails).  I also wonder how this differs from videography (which I am sure demonstrates my lack of understanding of the industry). Anyway, our family has no knowledge of this industry and frankly I / we have NO idea where to begin.... Film school, technical institute, in state ..read more

Red Coral Universe, the new OTT streaming platform catering to independent filmmakers, has announced its 1st Annual Gen Z Film Festival, a global competition in which filmmakers 26 years old and under can submit a finished feature or short film for a chance to win distribution deals, $10,000 cash, production equipment and other cool prizes. Deadline to enter is March 31, 2024.  Please send completed projects to redcoraluniverse@gmail.com.  Films of any length or genre will be accepted; however, pornographic or excessively violent material will not be considered, and the filmmaker(s ..read more

I'm a student. In a few weeks, I am going to be directing my first (ish) short film! The script calls for a darkroom set, as in a photography development room, so it will need to have red lighting. I'm constructing the set rather than using a real location (none nearby sadly!) so I'm doing my own lighting. However the camera I am using (Canon C200) is not great for picking up red light and I know if I try to shoot in such a dark space with only red light the image will come out very grainy (have tested this, it is also very hard to expose properly). To my understanding this is because instead ..read more

I would love someone to fact check my understanding of exposure and exposing away from the noise floor to get cleaner images.  1. ISO and Dynamic Range are linked. No idea why but they are (could someone help me understand why boosting the signal would effect dynamic range?) 2. Exposing a stop or two brighter is a good way to clean up the image and move away from the noise floor giving more latitude in post.  3. Dropping your ISO is a good way to force you to let more light hit the sensor.  4. In doing this you are playing closer to the upper limit of the sensor, it is compromis ..read more

Hi folks -- I'm shooting a Super 16 film this summer with an Aaton XTR, which only runs sync speed at 24fps. However, how much drift is there really at 18 fps? It seems to me that if every shot is slated properly, I could shoot at 18 fps and slow it down to 24 fps run speed on Final Cut Studio and be spot on to sync with the audio timecode most of the time, unless the camera really, really drifts. The advantages would be 1 - I use 1/4 less film. 1 - I gain a stop Disadvantages are obvious -- sync is off by enough that I go insane trying to resolve it. What do you think? thanks Erik ..read more