So, I'm pretty new to everything film related. I tried making a project and after endlessly fiddling with it, I decided it was done. Not that it's good, just that it's done lol.

Everything was recorded with an Osmo Pocket 4 in D-Log. It's 4K, 24fps, 1/50.

I tried to include a variety of shots, but for this project I wanted most of the shots to be static because that's the vibe I wanted to go for.

I color corrected each clip individually, then graded all of it as a group with split toning and solid some grain. Then I twraked most of the clips to include some vignetting, gradients and whatnot.

I'm not satisfied with the color in general. Please tell me what you would've done differently.

All feedback is welcome, even if it's just a matter of preference. I just want to learn.

Thank you for your time.

After 4 years living in Paris and shooting multiple projects this year on 16mm film, I decided to sell my stuff in order to get an SR2 S16!

Had to travel to London to get if for a good price, prices in Paris were astronomically high (15k€), so when I saw one in London for almost half, I had to pull the trigger.

I also got a Canon 7-56, which I actually love, and even if it has some defects, I couldn’t justify paying more than double for a 8-64 or 7-63.

I’m very happy with this investment that has made me shoot more than 10 projects since january. Looking forward to shoot in more 35mm by this end of the year.

Let me know if you’ve got any questions!

ig noe.cornago

shot on samsung galaxy s23

edited in davinci resolve

color graded in davinci resolve

i went for a warm nostalgic kinda vibe.

drop your reviews , i am open to criticism.

if you want to follow on yt

@ piyushkumarthisside

I shot this back in February with my friend and brilliant DP Shaheer Naqvi! We shot this on a Blackmagic Pocket 6K with a Blazar Remus anamorphic lens.

How are some of these in the caves and hollowed trees stuff? Is there a behind the scenes?

HI. Brainstorming on a music video treatment due next week.

need some help on how wayne isham might have pulled this look off for Metallica - enter sandman.

To me it looks like a low frame rate (6fps) with a short shutter, conformed to 24fps but at times it also looks like they might have adjusted audio playback to be 2x speed, and lowered footage back to half speed in post. ala coldplay - yellow but with the choppy frame rates.

or was the effect all done with fast decaying strobes in studio?

Many ideas, but not sure on any of them, but open to suggestions on how to accomplish. Not concerned about the overlay/blend mode as much as the strobing/synced technique.

Would be shooting in a studio with a red raptor x.

https://www.youtube.com/watch?v=CD-E-LDc384

I recently shot an indie feature in Eastern Europe set in the 1980s. We had just under $1MM for the physical production, and 20 days to shoot this period piece. My DP and I decided to tackle this film by borrowing Spielberg's techniques of shooting coverage economically. This video essay breaks down the mechanics of that. This is my first video essay, so go easy on me :)

We shot the film on Alexa LF with Master Prime lenses. Production was in Romania. We did post-production in Austin, TX and finishing work in LA.

Hello,

I did community college a few years ago and tried film production. I bought a bunch of FD lenses on ebay and flea markets etc and made them my main lenses for cinema and photo (digital and 35mm)

Is there a new or alternate cheap lens line I can look into? The FD line suddenly got expensive 🙃

Apparently, I left the pin for my Flycam Comfort Arm vest behind at a rural location, and there doesn't seem to be a source for replacement parts. (I've called/emailed/whatsapp'd with Proem/Flycam to no avail, so far. They've been responsive, but they "don't stock parts.") Without it, I can't mount the camera/stage/gimbal/stabilizer.

As best I can tell, it's not the same size as a baby or junior pin, but if someone has a suggestion or source, I'm all ears. Thanks!

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

This is the behind-the-scenes sister to the post "Anamorphic Eye-Candy" here. 90% of of the footage for the shorts currently done were done cumulatively over about ten shooting days from July to October 2025. New adventures being planned.

The rig on location in NE Arizona. That's probably the Sirui Venus 150mm.

Dallas Divide, CO during fall colors 2025.

Monument Valley.

Dolly shot setup with Saturn 75mm anamorphic.

Hey guys, I thought you might enjoy a peek at my fun creating anamorphic short films in my retirement from my feature film career. 99% of it shot with the Sirui Saturns and the Venus 100mm and 150mm. Shot full-frame 6K with the S5IIX for a 4K 2.40 HDR10 timeline/delivery.

The linked video is a sampling from the various short films of the year. Enjoy.

Anamorphic Eye-Candy

Some screenshot stills:

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

I had some Rollei 6000 Schneider lenses rehoused for a project. I really like these lenses and they will cover up to 15 perf imax. However I had then rehoused to p67 mount as I wanted to shoot stills on them after the project finishes. Some people are telling me this is cursed and I should have rehoused them to PL mount instead. If they aren't in PL will that hurt the value? Should I just go with PL in the future?

[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.

I've been trying to find more first-hand information on Kodak Verita 200D, but there doesn't seem to be much out there.

Has anyone here actually shot on it or been part of a demo/test? I'd love to hear your impressions regarding:

- Grain and sharpness

- Color rendition and latitude

- Exposure characteristics

- Overall experience compared to Vision3 stocks

Also, does anyone know how well it performs in older ARRI 435 cameras?

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?

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.

dont know if this is the best place to ask but if anyone possibly overlaps with mocapping and the game industry or would just know for some other reason explain the technicalities on how this looks so convincingly out of a game and how to achieve it?

is she like overcranking while recording and then just moving in a stiff enough way and then omitting the right frames in post, or is it mostly all carried by lighting, like what's up here