There's something surreal about these clips from this music video, I think it's that the subject feels brighter than the background, even though she's outside on a sunny day. And some great color grading and location. How would you go about achieving this lighting? And where might I be falling short on my color grading that keeps me from getting such great colors when I edit?

I think this must be a very simple set up, yet I watch this and think I'm not sure I could get something that pops like this if I just went to a field with my equipment. But I would love that ability/confidence!

Link to video: https://www.youtube.com/watch?v=D3CnPHo4Urk

Commented

I just finished exporting a bunch of clips from Davinci Resolve ( Studio ). On my macbook they are punchy and bold, but on iPhone they are a bit washed out. what am I doing wrong?

Info :

Shot on Canon r5 Mark II , C-log 23.976 Main 4:2:2 10bit.

I attached my CST and my export settings.

I need to prioritize how these clips appear on an iphone for social media. Thank you in advance.

What was the thing which has made you who you are today. How was the process and what made you the artist you are today.

Most of the people i know are self taught, and how did you manage everything from getting gear to try on, handling creative blocks and especially what do you do when your footage looks entirely different from your vision (which happens all the time) what was it like. Whats the motivation. How did you end up in your first “set”.

Everyone has a story to tell, and every story is worth listening, especially from the ones who tell stories through their own vision 🤍

I'm a full time software engineer that also works in the industry as a DP and gaffer. I was pretty sick of the high cost and terrible UX from current sites/apps that let you make organized shot lists, and production schedules so over the past 3 years I have been developing my own and it is finally ready.

SHOTAGE.io

TLDR; It's not vibe coded, has a free tier, includes pay as you go if you prefer to avoid subscriptions, works on all devices, battle tested on sets, and has a roadmap of features.

Not Vibe coded/AI Slop

I want to get out in front and recognize that any idiot with AI apps is making slop websites to pass off as filmmaking "tools" right now. I can't stop that, but I can assure you that I am a Senior Software engineer that hand crafted the UX, logic, and (importantly) the application security of SHOTAGE.

Features

Automatic Project Setup - First because it's my favorite. Upload a script/screenplay, and you don't have to type out any scene names, locations, characters, or any other data entry. The site will build your project structure for you so you can get straight to shot listing.

Shotlisting/Scheduling - What you expect, but made as intuitive and with as many QOL features as I could think of so you can get your coverage vision from your head to the list as easily as possible.

On Set Tracking - SOOOOO much easier than anything out there. The site is made to be super flexible so you can reorder, add, remove shots and notes while shooting. This was my biggest frustration with what I was using for keeping on track on sets, so I love using this on set.

Cost

First if you wanna use it on a small project right now, it's FREE.

I wish I could let it live out there for totally free, but where I'm at in life and the monthly infrastructure costs to host and operate the site just don't make that possible. That being said, I made it as cheap as I could, I'm not trying to get rich off fellow industry creatives. If it blows up and gains a ton of support to offset the cost, I will revisit the pricing model only for the better so that more features and use can be made free in the future.

I also dislike today's subscription ecosystem and think it's a leech on hobbyists/creatives so while I do offer subs, I also made a way to do Pay as you go so if you are someone who only works on a couple films a year you don't have to have a recurring monthly or annual payment to manage and shut off when you need to.

There's my spiel. I genuinely hope that it helps other filmmakers like it has helped my on my last 4 films. I am open to any and all feedback to make it even better.

Hello all, shooting a short next week, first big one after the end of college, bit of money in it too. Big living room scene where family members argue with each other.

Thinking of blacking out all windows apart from the one that ill be shooting into, for that one i was thinking of boxing it out with black fabric/ultra bounce, to then place a light on the floor set to replicate night time ambience, maybe bouncing through a small mirror on a stand?

inside lighting: was just thinking of booming a light and working with practicals, the only issue i have is ive never done this, unfortunately cannot ask crew to do a night shoot.

Am i thinking the wrong thing? Am I considering the wrong approach? any better ideas?

Any tip is highly appritiated. Thanks in advance

Apologies if this is the wrong place to ask. This is more so a query in regards to 1960s/1970s film/ video technology.

I’ve noticed in a lot of shows up to the early 1970s and early music videos appear to have a green tint on edges of figures, when white appears on a dark background or black appears on a white background. It also happens when the camera pans.

Was it due to interlacing or how colours were processed? Was it like this in the 1970s or is it how it’s being processed by my 4KTV? I think I may have seen in it in 1950s colour shows? I’ve also noticed how when light shines on metallic surfaces it reflects back in a multitude of colours, and leaves a distinct green/ blue trail lasting a few seconds.

I’m using stills from Elizabeth R which was shown on BBC in 1971 as an example. The green tint is visible.

I don’t have an issue with it, but would love to know what exactly is causing it! Is there a scientific term?

Thanks.

Looking for a COB light with a specific focus for using it in a softbox

For example, if I were to get a Tilta camera cage or any other brand of cages, could I use a smallrig handle on it? Or vice versa?

Absolute beginner here.

How do you simulate sunlight without breaking the bank prefebly using a singular directional light, the kind with Bowens mount?

It can be supplemented with other lights, e.g led lights, ring lights etc..

This is the late orange sunlight at the beginning of the end of the day i am looking for.

How do you create the filtered look, e.g passing through curtains and creating those god ray lines.

Haze could be used or some kind of smoke machine.

This is for personal project as opposed to professional, mistakes will be tolerated but just to get started, what exactly would i need.

From there onwards, i trust myself to figure it out via experimentation and play.

Thanks!

I have an eclair npr that I’ve been shooting on for about 7 years, a lovely camera but I’m constantly having battery issues. If left untouched for even a month or two, the batteries tend to fully drain and need to be recelled.

I would love to find a more sustainable battery setup with the v mounts I already own. I’m wondering if anyone has any leads on ways I could build out my own v mount powering setup for this system? Any help appreciated!

Hey everyone,
I’m trying to set up frame guides for shooting TikToks/Reels on my Sony a7IV. I am fully in Movie Mode and navigating to Shooting -> Shooting Display -> Marker Display -> Aspect Marker.

However, I do not see a 9:16 option anywhere in the list. I only see traditional horizontal and cinema ratios (4:3, 1.85:1, 2.35:1, etc.). My camera is completely up to date on Firmware Version 6.02.

I keep seeing tutorials online showing a native 9:16 marker on Sony cameras, but is this feature genuinely missing on the a7IV body specifically?

If it really isn't supported, how are you guys framing your vertical content on this camera without using an external monitor? Do you use a specific grid line or just tape the screen?
Thanks!

Hey everyone,

I am shooting on a Sony fx30(24 fps 1/48 shutter speed). I shoot mainly outdoors in broad daylight. I have a CPL which provides 1 stop of light reduction and then a 3-stop. I aim to always record in the native base ISO of 800.

Thus far, I have been able to achieve correct lighting exposure with just the CPL and 3-stop. I had already purchased the 6-stop and im considering returning it because I never use it. But now I'm learning that there could be advantages to using a stronger ND filter and keeping the aperture more open versus using a lighter ND filter and having to close the aperture.

Can someone explain this to me? For example, how big of a difference would shooting in broad daylight be if I was using 4 stops of light reduction and a closed aperture versus 6 stops of light reduction and a wide open aperture?

Thank you

Even with the latest DaVinci update, Mac users are still experiencing color and contrast differences between Rec.709A and Rec.709 Scene.

I was told by a lot of you to post this here so here you go, hope you like it, i spent almost 5 months making it.

i have a sony zv e10 and of course my stability isn’t perfect because i didn’t have a tripod but does anyone know why the footage kind of warps? it may not be super obvious but its bugs me!! the lense i have currently is a ttartisan 35mm.