Search the Community

Hi everyone! I wanted to showcase my passion project "The Night Knows No Shore" here on EOSHD. I've been a long time reader of Andrew's blog and it was his footage that inspired me to get an Iscorama a long time ago. After doing tests with it for a while I came up with this idea for a movie. And you can now see the result on youtube: It's a project made by one single actor and one single crew member (me) with one single focal length (a Canon FD 85mm 1.8) and one single focus anamorphic lens ( Iscorama pre-36). Don't expect much action. It's a slow film with lots of monologues and no real plot. It's about one young man's thoughts on society, religion, art, philosophy, life in general. Have a look. If you don't like all the "pretentious" talking, maybe you like the footage. Let me know what you think. If you have any questions, just ask. Enjoy!

Hi, first post here for me I am an italian filmmaker and this is my first feature film. It's a very very small budget science fiction movie, inspired primarily by the work of Andreij Tarkovskij. TEASER TRAILER You can watch the movie for free (ENG subtitles available). Please download the original file for a better quality. Hope you enjoy

Hi, I´m finishing my new film, and just wanted to share this little Teaser. can anyone guess what camera was shot with? ;) http://vimeo.com/82595265

Want to share a trailer for a feature I shot using a 6D, 60D, and a GOPRO 3.

Hello everyone, We are planning to shoot a very low budget feature film this summer and I have some questions on the camera set we will use and I hope you can help me on some of the following: 1. The 16:9 sensor on the GH2 + a 2x anamorphic adapter produces a final stretched anamorphic aspect of 3.55. Which would result in (1920x1080)*(2)= 3840x1080. Instead of doing the decompression from 2x, I want to interpret the shot as if pixels would be 1.333 or 1.4587. I know it keeps the image still a little deform but I think I like the look. Whats your technical and/or creative take on it? (SEE IMAGES BELOW) 2. We would project it on standard 2k (2048×1080) DCP cinemas and the final cut would fit into it with a 2048x858 (2.39:1) size movie. Am I right? or does it work in another way? 3. I am currently using Sedna AQ1 for max detail against anamorphic softening against big screen projection. Do you think it will hold enough? Would you sharpen in post? Whats you recommend any other hack? Given this 3 points which would be your opinion on this process? Have any of you seen any gh2 anamorphic content projected in 2k dcp? How does it stand? Thanks for your help! P.D. Anyone selling a Kowa 16-h (8z) In order not to be so limited with the 16D in lens minimum mm´s?

I've shot this over a weekend last summer with a view of using it to raise funding to shoot the whole film. Check it out, it's short & sweet: Help us to make it happen, we need your voice. Go to www.bloody-title.com and be part of it! Thanks for reading, J.

I guess this is the opportunity of a lifetime, for new cinematographers. My friend's production company is looking for a cinematographer for a Low Budget Indie Film, to be shot in India. It requires a Cinematographer, who doesn't have too many years of experience, since the budget is not too high. Anyone (even fresh pass-outs), who are comfortable with shooting on different formats (especially DSLRs), please write in to us. We will cover air fare to India, put you up, and also cover your fee for your work. Please write into us at (and please try and paste the urls for some work of yours): admin@Happyhoursentertainment.com

UNTITLED BELGIAN FILM NOIR Following an earlier posting about a teaser I shot anamorphic on LA7200, I've now launched a crowdfunding campaign to finance the missing part of the production budget - principal photography to start this coming summer. It's bloody, noir, full of intrigue, and still missing a title. Check it out for yourself on www.bloody-title.com And help make it happen! Thanks for reading, Jo

Halfway through filming our no-budget feature film on the trusty GH2 with a Driftwood Moon T7 hack. Lenses used are Sigma 30mm 1.4, Canon FD 50mm 1.4, and SLR Magic 12mm. teaser: We're running a kickstarter to finish the film here: https://www.kickstarter.com/projects/1914745614/feature-film-the-act-of-leaving

A trailer for an upcoming feature film I wrote and co-directed. We shot the movie on a C300 using the 16/32/1.5x Bolex Moller anamorphic adapter lens. Many thanks to the people on this forum for helping me figure out the logistics of this during pre-production! YouTube Link

 Hello filmmakers!   For a limited time my first feature, Bad Vs Worse will be available free to watch. It was shot entirely on the rebel t2i for a budget of six grand. My goal is to build a fan base and gain some recognition for my skills as a filmmaker. Unfortunately, due to the length it's not the HD version but hey, can't have it all. I hope you enjoy and any comments, question, and criticism is all welcomed. Enjoy     http://www.youtube.com/watch?v=_NOTm1MGmIQ    

Y'all know what Darias Khondji and Dean Cundey, Kovaks, Carpenter, Storaro, Toland, Conrad Hall, Harris Savides and pretty much anyone you can think of and dozens you can't, guys who shoot great looking stuff on purpose, not by accident, not because they got lucky but by design and through their own effort and expertise, either for the selfish benefit of the image itself or in service to the story, you know what they did so that they could do that stuff when it count, when they were getting paid to do what they did, when dozens if not hundreds of people were depending on them, waiting on them, when possibly millions of dollars were on the line or potentially rendered forfeit, you know what they were doing so that they could do what they did?   They were shooting tests.   Every camera.  Every lens.  Thoroughly.  They didn't waste other people's times learning what they could and couldn't do under a variety of common or unique circumstances on-the-clock.  They're smart enough to realize the occasional "happy accident" of a flare or focus pull or color combination or Golden Triangle configuration that just happend to occur at just the right time such that a most amazingly emotional chord is struck when the image is viewed by most humans is great but discovering that that last take, the one where the set/car/character/town is destroyed by fire, the giant monster is blown up, the command shuttle breaks apart the rented helicopter is finally, perfectly aligned with the setting sun to create a perfect silhouette through rippling heat refraction in some exotic locale on their last day of access or visa or the last raw nerve of some local potentate or executive producer isn't wasted because they didn't know WTF they were doing and just hoping for the best.     They weren't satisfied knowing the stuff they were using was expensive, or from a well known pedigree, or supposedly crafted by Santa Claus's most talented, clever elves, or promised in some way to never fuck up, under any circumstance, with any other combination of previous, contemporary or future widgets made by Satan Claus or the Easter Bunny or Baby Jesus.  They had to know.  So they could do it.  On purpose.  On demand.  Repeatedly.    They shot tests.   What they likely didn't do, for all sorts of reasons, is share these tests with the world, in a public venue, so that others at, below or above their stature and experience could comment on, learn from, share, ridicule or improve upon.  (this last bit was my maybe cryptic way of saying we should be lucky we're in a community where ideas and techniques are shared openly and not hoarded.  I'm not saying "stop posting tests" and non-narrative videos)   edit: TLDR version -- y'all stop marginalizing folks posting test videos because that's how you familiarize yourself with your gear enough to be useful to yourself and anyone else.  It's what the  name brand pros do so snarky comments about yet-another-boring-test-video are really just ignorant.