Hey guys! Hope you’re all doing well!

Yesterday, I made a post asking for advice on what to buy. After reading all your comments (thanks to everyone who took the time to reply!), I decided to stick with what I have and focus on improving my setup instead.

Today, after work, I decided to do some tests with a 5-in-1 reflector/bouncer from Omar, which I bought back in 2021, I think.

I set up my PT-176S at a 45° angle on my left side and the bouncer at around 45–50° on my right.

To be honest, I’m not seeing a huge difference in the results. Of course, when I remove the bouncer, I get noticeably darker shadows, which makes sense.

My main concern is that the bouncer is only about 20 cm away from my face. What happens if I need to shoot a wider scene and can’t keep it that close?

Would you recommend building a foam board or bead board reflector, or is my current bouncer perfectly fine and I’m just not using it correctly?

Any advice or suggestions would be greatly appreciated! Thanks in advance!

Hello everyone,
how would you all place the boom mic in picture one when they sitting closely next to each other indoors do I require two mics?

And for the second picture is one mic in between them enough? I thought the voices would cross and the mics would pick up the voice from the other person too if I use two mics?I'm not having a sound mixer that can turn off the persons...

I would appreciate any answers. weniger

Do you know of any creators who make this type of content? It doesn't have to be photo walks, but cinematic shots with voiceovers, short stories, etc.

How usable is it in practice? Those who own or have owned the ZR, what other cameras IBIS could be comparable?

Não me oponho a comprar uma câmera usada, mas na minha região fica muito difícil encontrar câmeras baratas e que me entreguem um resultado minimamente bom. Eu não me oponho a comprar lentes específicas, mas me ajudem na escolha de câmeras?

Canon t6 mega surrada e com ferrugem em todos os parafusos por R$1.000,00

Canon t3 em perfeito estado por R$800,00

Qual das duas faz sentido? Quero começar a oferecer ensaios fotográficos em estúdios e clínicas de beleza.

So I’m trying to make this look more cinematic, but I’m really not liking how the lighting is looking on the subject. Specifically, I want it to look like the light is coming from overhead, but I feel like the light bar I have just makes everything look flat and not very dimensional. So maybe that’s not the right direction. The space isn’t very big, so I can really only get one angle here. This is for a horror film where people are talking to each other and planning their escape.

https://www.youtube.com/watch?v=_Hi9E7CDpLs

hello everyone i am new to filmmaker and i made this video about gopro and south africa so if you like FPV or Filmmaking i think you will like this and if you do a SUB would be amazing thanks

https://www.youtube.com/watch?v=aNC0qAScd0A

hasn’t been in a fridge but is fully sealed and untouched

Is this lens flare normal in sigma or mine has a problem?? Cause sony kit lens is handling the flare better not making a line (3rd image) but not sigma 10-18 f2.8 Im using both with zve10 ii ..let me know guys !

I'm trying to buy some lenses for my fx3 that I recently purchased and am wondering what y'all recommend. Please don't say nightwalkers or DZO, I beg. Give me your weirdest, most unique choices!

Hello. I am a film director and I am looking for a personal passion project/experiments camera. Around 2000€ budget for the body, probably from the second hand market. On bigger projects I rely on the crew, but want something where I could be a one man crew to test out things with the story, pacing, actors, editing, visuals. Something that wouldn’t require a lot of rigging, but would yield and organic image without the need for heavy post work. Also thinking of possibly trying to make ~2-5min short proof of concepts that I could make myself from scratch. I am not a cinematographer by any means, but in the past I was experimenting with BM and Sony cameras, so I have some limited technical knowledge. I guess this could be called “guerilla” filmmaking? What would you recommend? Right now I am thinking in the realm of the Lumix S5IIX or the Nikon ZR?

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What do we think?

Really can’t decide which I prefer. Just for reference, I don’t think I’d utilise the Vespid II lens data and I have used the 21 and 40mm Vespid I lenses.

My content is kinda gritty, dark, contrasty, no fill light, silhouette kinda vibes most of the time

Apart from just pushing light through the windows. Music video. Night time, needs to feel uncomfortable, unsettling. Subject walks into restroom and stands in front of mirror/sink on the right going from a wide to close up in one movement.

Edit - will be shooting this scene at night

Hey lads,

Photographer here thinking to do more video as part of my community project. I have done some low budget documentaries, interviews and other hobby projects.

However, I've found it hard to think in sequences, justify camera movements and transition.

Also, sound can be a b*tch. I feel like it is an art form in itself. It's a lot of than just capturing good sound.

Basically, time as another dimension of composition that I'm not used to. I definitely focus more on individual compositions over narrative continuity.

Any suggestions or exercises that you think maybe helpful?

Hi hi everyone,

I'm a film production student and aspiring cinematographer currently based in Arizona. I've been building experience in camera departments on independent productions, primarily working toward a career as a DP, but I'm also interested in working as a 1st AC, camera operator, or trainee on larger features.

I have a question about how necessary IATSE Local 600 membership actually is for progressing into higher-budget feature film work.

I'll be upfront: I personally really prefer nonunion employment in any industry and would rather avoid joining a labor union if possible. I'm not looking to start a debate about the merits of unions or criticize anyone who chooses to join one. I'm just trying to understand the practical realities of the industry before making long-term career decisions.

My understanding is that most major studio features operate under IATSE agreements, but I'm unclear about how that translates to individual camera department hires, particularly in right-to-work states like Arizona.

A few things I'm curious about:

1. Is Local 600 membership effectively a prerequisite for working as a 1st AC, camera operator, or camera trainee on major studio features, or are there legitimate pathways for nonmembers?

2. Does working in a right-to-work state make any practical difference when a production is covered by an IATSE agreement?

3. Is it realistically possible to build a career working on substantial feature films while remaining nonunion, or does that significantly limit opportunities beyond the independent market?

4. For those who started nonunion and eventually transitioned into Local 600, was joining genuinely necessary to advance your career, or was it more a matter of access to particular productions?

5. Are there meaningful differences between the requirements for DPs, operators, 1st ACs, and entry-level camera department positions?

I'm particularly interested in hearing from working camera department professionals who've navigated this firsthand, especially those familiar with productions outside Los Angeles.

I'm not asking how to get around a production's contractual obligations. I'm trying to understand what career options actually exist for someone who would prefer to remain nonunion while pursuing larger narrative projects.

Appreciate any insight!

Hey everyone!

I'm getting back into photography after taking a break in 2023, and I'm now starting to explore cinematography. I'm trying to figure out what would be the most useful next investment for my setup.

My current gear:

• Canon 700D with an 18–50mm lens
• Neewer PT-176S light with two gels
• Two tripods (one for the camera, one for the light)
• A 5-in-1 reflector

I'm considering getting a second light, but I'm not sure what would make the most sense:

• A small RGB light for coloured accents, background lighting and creative effects
• A more powerful COB light to use with a softbox or diffusion
• Lighting modifiers, grip equipment, or something else entirely

I've also considered getting a fog/haze machine, but I'm not sure if it's worth investing in one at this stage.
Or a Microphone, I don't know

I'm completely lost

I'm currently studying lighting and working through exercises from "Cinematography.School", so I'd like to invest in equipment that helps me learn and experiment rather than just buy more gear for the sake of it.

I'd love to upgrade to a Sony a6700 eventually, but that's outside my budget for now, so I'll be sticking with my Canon for the time being.

If you were in my position, what would you invest in next, and why? Would you prioritise a second light, a more powerful key light, modifiers and grip equipment, or something else?

I'd really appreciate advice based on your own experience, especially from people who started with a similar setup. Thanks!

Sound design for movie

para ustedes cual es el top 5 de peliculas de humor argentino de todos los tiempos?

Not a “movie” exactly but I’m testing out ways to make footage from my A7IV look as cinematic as possible. Here are some visuals,pretty much no technical lighting here just natural lights this was shot as a “vlog” so I’d appreciate some feedback and ways to improve my footage or my editing

Hi guys, I'm new to this. I would like to ask for your feedback regarding this shot. What and how should I improve?

Thank you in advance ^^