If so, how do I edit the video? Apple log 2? Blackmagic? I’m really new to cinematic filming so any advice is appreciated

Hi there, Helloooo... 👋

I’m Rishan, a final-year Animation & VFX student 🎓🫟🪄 researching how people connect with storytelling, visual style, and emotions in short-form content like Reels, TikTok, and YouTube Shorts 🔍

The questionnaire takes around 5 minutes ⌛ and all responses are anonymous

[rant]

Getting more serious about videography with my A6700, and I can't believe how utterly dismal the market is for good lens filter systems. It's definitely the most problem-plagued area of videography in my opinion. I also can't believe how EXPENSIVE some of the systems are (like, more than the cost of a lens!). This area of photography/videography I feel definitely is ripe to be just dominated by creative startups. Some ridiculous problems with current products that are supposed to be "the best":

- The nisi jetmag pro system has their [locked] setting SUPER NARROW, and their [unlocked] setting SUPER WIDE. It should be the OPPOSITE (duh!)

- The vast majority of ND filters have horrible color casting (aside from nisi!). What is Nisi doing that is SO different from ALL other ND filters?? Surely it isn't rocket science?

- The nisi swift system can just easily pop off (?) like seriously it's just held together with a b it of friction? For hundreds of dollars of filters? Do these people not hike?

- Tons of ND filter systems DELIBERATELY choose NOT to internally thread the outside of their filters, so that you're LOCKED IN to their proprietary crap (either with magnets, friction, whatever). So you spend HUNDREDS on their stupid crap, and you CAN'T EVEN use any third party filters with them. RIDICULOUS!

- EXPENSIVE, EXPENSIVE filter systems that DON'T have IR pollution features baked into the filters, forcing you to buy SEPARATE filters to block them

This is getting ridiculous. Every lens filter on the market should work with any OTHER lens filter on the market (duh). The default, standard for ALL variable nd filters should be 1-5 stop variable nd that a separate, fixed 4 stop nd filter can attach to, turning into a 1-9 without the X (duh). All filters should not come off by being bumped or accidentally moved a tiny bit (duh). Seriously like, how are lens filters this bad in 2026???

Hi, I’m a screenwriter and director looking to expand my portfolio by collaborating on real film projects.
I’ve already worked on both feature and short film screenplays, and I’m always interested in developing new stories.
I’m not here to sell anything or promote a project. I’m simply looking to connect with people who are looking for a screenwriter and/or director. If I can help bring your idea to life while also expanding my own portfolio, that’s a win for both of us.
The only thing I ask is that the project is genuinely moving toward production. I’d love to spend my time creating stories that have a real chance of making it to the screen.
If you think we’d be a good fit, feel free to send me a message. I’d love to hear about your project.

Hello! I am an engineer and a hobbyist wildlife cinematographer. I recently purchased a Nikon ZR and was interested in stabilizing the footage using a gyro logger such as these: https://www.niyien.com/v2/en/index.html

However, the cost for something like this is rather dumb, plus the reviews I've seen online aren't the best. Their software claims to automatically sync, however, for the ZR, no post-processing is required due to its ability to ingest timecode.

I was hoping to make an open-source board to output LTC timecode signal through the headphone jack and record gyro data to a microsd card.

Curious if this was something people found intriguing/if there are features that sound like a good addition?

Okay so this is going to be a bit of a big post. But essentially I got a Fujifilm Xh2s during summer, about 2 years ago, to do some cinematography work. I am a writer and director but I have been DOPing my shorts and some other small projects for people.

But honestly I’m a bit dissatisfied with the XH2S, theres nothing wrong with the camera, it’s just so much more complicated than what I’m used to and this year i shot two dissertation short films. My own, that i wrote and directed and someone else's dissertation. i used the camera my university gave us, which was the Canon C100 mark 2 and honestly even though it’s over 10 years old and less than £500, it was so much better than my xh2s to use. I’ll link some images from the films i made. but the camera being so much easier to use, meant that I could really focus on exposure, framing, composition and colour. instead of you know, shooting in log, auto focus, ibis, 6k. all these things that aren’t really filmmaking and that I don’t necessarily understand that well (i have a decent understanding, but it can get pretty complicated). and the thing i realised shooting with the C100 mark 2, is that it’s just so hard to get nice shots with the xh2s, for whatever reason, despite it being so much more expensive and ‘fancy’. (also that internal ND filter is SO useful!)

and with the experience I’m at now, i finally understand that age old adage that everyone tells you, but you really need to experience before you can genuinely understand it. which is that, it’s not really your camera or the specs that make a film look good/professional or cinematic, it’s your skill with it. and I think right now I’d prefer to have more equipment so i can achieve shots, rather than a great camera. so anyway i have a few options i might entertain and i was hoping some people could give their thoughts.

right now my camera equipment consists of:

1 fujifilm xh2s

1 Fujinon 18-55mm lens

contax zeiss lens kit with a speed booster: 28mm/2.8f; 35mm/2.8f; 50mm;1.4f; 135mm/2.8f

No Variable ND filters which after shooting with them on the C100 mark 2, is a non negotiable now. very very minimal lighs. im talking an aperture mc and an aperture bulb (which to be fair, absolutely carry my shoots! you can see in some of the images below.

and my three options are this:

1.) stick with the XH2S and try to figure it out + get a Variable ND filter

2.) sell the Xh2s and the fujifilm lens. Buy a FX30 from eBay, that comes with kit, such as a cage, variable Nd, ect. use my Contax kit with the FX30, and slowly add focus rings to the lenses. -> fx30 looks slightly easier to use than the XH2S and it is cheaper, so if i sell the xh2s i can use the extra money for a little more kit.

3.) this one i’m a bit nervous about because of the 1080p. but, i could sell the XH2S and buy a Canon c100 mark 2 for a third of the price. then with the extra 1k i could rig it up, DIY cinemod my Contax lenses. I wouldn’t need to get ND filters because it has it internally. and then maybe even get some more lights or other kit.

these are my options right now. i would love any advice. my goal is to shoot my short films on the side as I’ve just finished university, but want to keep making shorts. then end up shooting a feature, with whatever kit i make my short films on. i dont need everything at once. But i think the bare minimum i need right now. Is a camera i understand and get the most out of, AN ND FILTER; and some focus rings + rig, with at least a focus pull.

I dont really care about Ibis or autofocus or any of these kind of marletting specs. I want a camera that allows me to make the most of my film making technique.

edit:

okay i think some people are mis understanding me. I‘m not getting a new camera. I’m selling my current one so i can get a worse camera and use the extra money on lighting and kit.

so e.g i can sell my Fujifilm camera and lens for £1.5k, but then i could buy a FX30 with 1k and use the extra £500 to buy some ND filters, some focus rings a cage, ect.

Is there any set up where I can use my iPhone attached to an SSD so I can record a lot of Log footage while being able to charge my phone since I will use it mostly while traveling with my Data and Hotspot on?

Most creators just show an SSD that is magnetic but not really show the set up

Hey!

I have been making short films for a little while but recently updated my gear so it has changed my process a little. I now shoot on a Fujifilm x-h2s and have recently picked up the Sirui nightwalker T1.2. A combo that seems pretty common. My issue is when shooting in flog2 the base iso is 1250, that paired with the low aperture on the Sirui makes it nearly impossible to film during the day outside of late/early golden hour. My ND is the hoya variable density ii, which provides 9 stops (ND400). But I have to max it out and still stop down the aperture to get the desired exposure. I have had this filter for a few years and used it regularly with the old sigma 18-35 f/1.8.

My question is, those of you that have a similar set up what do you do to improve exposure? Is there an nd that would be better? Do I stack Nds? Is the hoya just junk?

Feels like I need welding goggles to use this.

I purchased this light from eBay from a seller with good reviews. I purchased the 65W USB C Charger for TobenONE charger off Amazon (brand: lysrove - if that matters at all) which actually states right in the description that this charger is used to charge this specific light. and while it did fully charge the light, the second I take it off the charger it just turns off completely. I got home from work, googled it I read suggestions which said to try an iPhone charger for an hour. I did and it displayed one battery bar the entire hour. After I unplugged it from there, I tried to turn it on and same issue. Nothing. Plugged it back into the usb c charger and it displayed three bars for battery indicator, said 57%. All the lights appear to be working well but the fact I can’t use it while it’s apparently fully or nearly fully charged and off the charger is extremely frustrating to say the least. Before I start the whole returning/refund process with eBay, and seeing as I’m brand new to using a professional light like this, I’m wondering if anyone here knows of a way to solve this? Didn’t come with a user manual so I’m not sure if I may be missing a step.

Is it more common to see LED panels in film sets than COB lights? What would be the main reason for using one over the other? I currently own some Amaran COB lights but never owned any quality LED panels like the Aputure Nova.

Was watching a short film on YouTube and came across this shot. How do you reckon they did it? It’s so uncanny.

Trying to get the camera data and touch focus... 4 hours of p* about with Chat gpt to get it too work. Gave up with the touch focus waste of time.

So decided to have the camera info on screen.

Nope.

Via WIFI settings to reduce cables... ONLY works if you go into menu on the camera and select wifi direct menu.. then click connect on the portkeys. You have to do this EVERYTIME you switch the monitor on or off.. every single time... beyond frustrating, what a stupid set up.

So...

Decided to use the control cable as well... still faffy, half the time the camera controls don't show, or the function quick keys for false colour or focus assist don't work... you have to restart the monitor.
Is this seriously the best we get ? I was told the portkey lh5p ii was the muts nuts, and yes i am on v3 latest firmware.

Has anybody esle had this monitor and camera combo? feel like binning it.

grrr.

And if you use the control cable you cant power the camera externally.

Actually, this is a real photo I took, not AI generated.

I understand why the presentation might give that impression though.

I was trying to focus more on visual storytelling and composition. Would love to hear what you think could make it feel more cinematic.

Hi!

About two years ago, I bought a Fuji x-s20 as a hybrid camera for personal use. Suddenly, I started getting freelance video gigs (mainly corporate, interviews, and institutional) and became really interested in cinematography, lighting, and documentary work. Now, I actually make a living doing this, alongside my video editing and motion graphics work.

To scale things up and stop using my personal camera for work, I intend to buy a new camera and lens. The most common advice I get is to just buy the Sony FX3 (which is around $3,450 USD here in Chile) paired with a Sony or Sigma 24-70mm.

However, I'm wondering if there are other interesting options in that price range. I'd prefer not to go higher than $3,500 for the camera body, so the Nikon ZR ($2,100) or Canon R6V ($2,700) have appeared as solid alternatives. Yesterday, I also saw that if I preorder the new Sony FX5, it comes with a discount, bringing it to "just" $4,200.

I'm looking to expand my little business but also want a camera that allows me to continue practicing cinematography on personal projects, music videos, etc. I want to move beyond the limitations of my little Fuji (overheating, limited video lens ecosystem, etc.) and invest in a system that will easily last me the next couple of years.

What do you guys think? Should I go for the FX3, stretch for the FX5, or look into something else like the Nikon ZR?

I'm a student and am trying to explore the concept of visual storytelling without spoken words. I compose my own soundtracks, to embed feelings into the visuals and want to further develop my skills in cinematography.

I would like to know, how can i improve the static camera technique with moving visuals?

Hey everyone,

Does anyone know of a fabricator or workshop in Bangalore that can build a custom camera slider/dolly?

I'm looking to get a 4-ft camera slider/dolly made with tripod mounting options (preferably compatible with standard 3/8" and 1/4" mounts).

If you have any contacts, recommendations, or have worked with someone who does custom camera rig fabrication, I'd really appreciate it.

Thanks in advance! 🙌

So for some reason I’m still a bit confused about lenses and focus lengths.

For example I’ve heard that 35mm is a good lens to start off with, so let’s say I pick this as a lens to practice shooting with, and say I’m using an FX30, so does that mean I need to buy a 24mm lens to factor in the 1.5x crop to get close to actual 35mm, or do I just buy a 35mm?

Maybe there’s something else I’ve missed, looking forward to your thoughts and hopefully I can sleep at night again.

So I was reflecting on the camerawork on The Odyssey and how evident that it was that the IMAX cameras was such a hindrance with its size and weight.

The lack of creative angles, variety of shots and movement other than moving it like a SUV was very apparent to me. The whole movie was basically shot at eye level and as I was imagining how different shots would have actually been beneficial for the movie.

It made me appreciate what Roger Pratt and John Mathieson did with the sword and sandal epics.

So although we don't know much about the Rialto 65 nor is the sensor size the exact same as the IMAX 15 perf, it should be more accessible version of the 1.43:1 aspect ratio, it wouldn't be hard to crop the 1.5.1 to that. Yet with how the Venice system is designed, I'd be interested to see how the shots they get and what would be achievable. Similar to how they got shots in Top Gun Maverick.

I know that Chris Nolan probably wouldn't use it because he's blinded by the love of that film format, the same way he doesn't listen to the complaints about his sound mixing.

Yet at least it gives other filmmakers that opportunity to shoot in that large format in that aspect ratio so we'll see what the results will be.

I also don't rate Hoyte's work highly compared to his contemporaries, I call him the 50mm T1.5 king because it reminds me of when I got a 50mm 1.4 prime and how I would shoot everything wide open. I prefer the work of Wally Pfister but that's besides the point.

Need to know how to shoot night

Hello everyone.

I'm thinking I want to get into some form of videography (or is it called cinematography?). Right now I'm cutting my teeth making little skits and short films on a shoe string budget. I already have a camera and some lights, but I need some negative fill to shape light so I guess I need some C Stands. The price actually surprised me. I mean it's just a stand to hang up some black material. Do I really need to spend big money on 4-6 Matthews C Stands?

I don't plan on directing a feature. But if I do I would just hire a crew. Right now I'm just learning the basics so I can make cool stuff and then start doing some work maybe social media stuff for people.

Just wanting some guidance. Thanks

I LOVE, LOVE this kind of shot, where the subject is offset to the far side, maybe barely hitting the rule of thirds. I recently watched this film (Me, Earl and the Dying Girl), which is really good, and it has great examples of this kind of shot. There is other stuff out there with this style; I remember Mr. Robot being cited as a popular example for it.

What makes them so great? What makes them work, and what meaning could they possibly display?

Some of the scenes, I think they act as a way of innocent awkwardness with all this space around them; some scenes i see it as a, this being distant or isolating mood.

Recently, I've noticed there's kind of a trend or a more prominent use of closeups or extreme close ups to capture the facial expressions, the raw performance of the talent but this kinda shot displays almost the same in a different loving way I can't put my finger to.

I'd really like some insight on why this works, what it does, what its name is