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 ^^

Hello this is dyno an adpiring cinematographer in the age of 17 and I know basics of cinematography but i really want to learn deeply so suggest some ideas to learn in my leisure times

I have been interested in cinematography for a long time. I was waiting for a short course to open locally, but it is literally nowhere to be found in my country. Even though there is a school, the reviews said it was too traditional, etc. The reason I wanted to participate in school was that I wanted to meet other people maybe connections would happen...

Anyway, I got fed up and decided to learn on my own now, whether through Udemy or YouTube channels. Please give me a solid one. Thanks in advance.

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?

Sound design for movie

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

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!

Have a very small budget on this shoot, which means I'll be filming myself rather than working with a designated DP. Filming talking heads in a loft space with large windows and natural light shifting throughout the day, interviewing multiple people throughout the day.

So the question is, what's the advice for consistent lighting throughout the day, also the background is a bit busy, so will awn't a shallowed DOF - around 5.6 ok, just not wide open. Going for a bright, corporate feel.

And generally, what's an easy way to up the quality in terms of lighting setup. If shooting alone, I'm usually on the run or shooting with available light and minimal fills. Or what are things I should watch out for

Will be shooting with:

• Lumix S5IIX - kit lens 20-60mm f3.5/5.6
• Iphones for Broll/secondary angle

Equipment available:

• 4'4 Kino Flo Bank
• ARRI 1K
• ARRI 650W
• ARRI 300W
• 1x1 LED Light (includes barndoor)
• 2x1 LED Light (includes barndoor)
• 2 40x60 5-in-one bounce/black/white/difussion

Can't send photo of space, but large loft. Windows have transparent screens for diffusing light (not blocking).

Hey everyone!

I'm a hybrid shooter (weddings + small brand videos, photography on the side) and I've hit the classic fork: should I start building a cine prime set, or am I fine with my fast photo primes for video?

Current kit:

1. Sony A7III
2. Sigma 35mm F1.4 Art, Sony 85mm F1.8, Tamron 28-75 F2.8 G2
3. usual gimbal / ND / tripod

What I shoot: interviews and corporate, wedding ceremonies and speeches, the occasional music video / short film. Mostly tripod or gimbal-based, very little run-and-gun tracking.

My dilemma: I love the idea of proper cine glass — geared rings, matched T-stops, de-clicked aperture, no focus breathing — and I've been looking at budget full-frame cine sets (the usual suspects: Sirui VP-1, DZO Vespid, the Viltrox cine line). But I shoot events where AF has saved me more than once (bridal walks, subjects moving toward camera), and going fully manual feels like a regression for those days.

What I've considered so far:

1. Keep photo primes, use a follow focus + focus marks — cheaper, and AF stays for events
2. Cine only for narrative-style shoots, rent for weddings — but rental costs add up
3. One cine prime (35mm) as a trial run before committing to a set

Budget: around €1,000–1,500 this year. EU-based, so used market and import taxes matter.

Questions:

For events + narrative mixed, is AF-photo / manual-cine actually workable, or does the muscle-memory switch bite you?

1. If you jumped to budget cine primes, what made it click — or made you go back?
2. At this budget, is one cine prime a smart start, or a waste until you can afford a matched set?

Appreciate any honest takes — I keep flip-flopping and need someone to shake me out of it.

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

Hey guys, I've been shooting small fiction and advertisment productions for a few years but never invested in a more robust cine lens kit. I think it's time to step up my equipment and I've been looking for lenses to buy. Still in doubt if I go for anamorphic or spherical (the Blazar Vipers look very good) but I'm looking to start building a lens kit for something in the range of 3.000-4.000 euros. Any recommendations about that? Sometimes I think that a spherical kit would be more dynamic and easy to adapt for diferent jobs, but I'm still looking for a kit that impresses me with its look.

Context:

- key light = Amaran 150c

- fill light = Amaran MC

I'm a stills photographer, but I learned everything I know about lighting from cinematographers, which is why I'm coming to you.

Problem:

These two lights solve 85% of my "problems," but I run into issues when I'm shooting at night in really dark places.

The lowest setting is often too bright

As you can see: both lights are color lights-- is this problem solved with a white-only light? Do I just need weaker-powered lights so that 1% power is 1% of a much smaller number? I assume "weaker lights" isn't the solution, seeing as most people I see are using high-power lights.

Other issue I'm running into is that the lighting often looks artificial-- where can I go for lessons/tutorials for scene lighting outdoors?

Anyway, I'd love your input; thanks in advance!

Here's my Instagram if you'd like to see my work!

Edit:

Here's What I've Already Tried:

• moving the light source away from the subject (problem I run into is that the lighting looks too artificial + light spills really badly-- even with a grid. Do barn doors solve this problem?)
• Diffusion (my cheetah stand softbox allows for two layers of diffusion AND a reflector plate/beauty dish. At one point, I actually taped an opaque shower curtain to the end of the softbox-- still no good.)
• Bounce the light (I've tried bouncing the light off walls, ceilings, and various distances-- light's either too bright or spills too much)

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!

In various TV shows the actors appear both in their younger and older version. Sometimes there exist some obvious props, particularly in older films, but in many situations the actors actually look astonishingly similar. Take for example the TV show "Dark" or "Yellowjackets". The younger and older versions of the same character look astonishingly similar. Maybe not for all characters, but at least for some.

A counter example would be House of the Dragon, where the young Queen is being played by a completely different actress than the older Queen in the first season, and these actresses were so distinct from each other that I was pretty confused for quite some time until realizing the change should indicate a time jump. It wasn't even the looks, it was much more the charisma the actresses have.

How is this achieved today? For a show like Dark, did they literally hire different actors and actresses that look similar? Or are there some computer tricks involved these days?