Well so umm i was playing The Blacksite, and in the cell block i lured the camera operator, they came to my position. I accidentally got spotted by them, but i saw how they weren't able to raise the alarms, but instead had to walk to the camera room to raise it.
Im not sure if this is how it works, because all i saw was they walking to the camera room and then i took them out
An employer is asking for a demo reel for previous work Iβve done, to work as a camera operator on a show. Tried getting in touch with my former boss, but apparently everything was destroyed in a storage fire shortly after I left.
Tips? Anyone?
https://alternatemovies.buzzsprout.com/1391980/8320664-steven-poster-interview
Steven Poster talks about his experiences setting up an iconic moment in Blade Runner, working on Donnie Darko, Big Top Peewee, and hanging out with the Mackenzie Brothers as well as how he forged a path for cinematographers to keep control of digital when transitioning from film. He's a fascinating guy, and there's much technical discussion of cinematographic techniques, lenses and cameras.
More info https://alternateearthcinema.space/
Hello!
I am looking to hire someone as a Camera Operator for a film project I am working on. The project is a comedy-documentary similar in style to things like Borat, Nathan For You, How To With John Wilson. We will be filming in the city of Pittsburgh and the surrounding areas.
It would start likely in middle to late June '21. We will be outside for most of the time that we are filming and the shoots will likely be at least two to three hours and will involve a lot of walking.
Filming will be in the afternoon/evening during the week and I am flexible on the weekends. I am also flexible with the days we would film. I imagine it would be about 4 - 12 hours of filming a week.
Also, you don't need much previous experience, I am mostly looking for someone that can contribute creatively and that I can work well with.
If you are interested, please send me an email with the subject line "Camera Operator Application" with your resume and any relevant reels or social media accounts to ecproductionspgh@gmail.com.
Thanks and if anyone has any questions feel free to comment or message me directly!
I usually use a huge pair of headphones but Iβm doing a shoot in an environment where my head will pretty much be covered with weather protection, Iβm hoping to find a solid pair of wired headphones that would be good for basic audio monitoring (more or less just to make sure Iβm getting audio at a decent volume).
Nothing fancy, just curious what you all are using!
Hi, all, I'm an independent filmmaker who works on my own short narrative films. I'm interested in purchasing my very first cinema camera in the $6k-$15k range (for just the body). I know this is a wide range, but with a more expensive camera, I think I'd be able to rent it out so I could justify the extra money. I've operated many cameras (RED, Varicam, Alexa, Amira, Blackmagic) on other people's sets and have rented but never owned one and I'm looking for something that will be good enough for me to not have to rent a camera when working on my own projects and will look professional quality.
I work with very small crews (camera is just me operating and a 1st AC pulling focus). I also don't care a lot about brand name (since I'm not relying on my camera to get gigs -- owning the camera is mostly for my own work)--however I am willing to pay for quality but NOT so much for ergonomics since I can find a way to rig up most cameras in a way that suits my work and don't even need internal NDs, ability to stabilize on a small gimbal, etc. So basically, I'm willing to pay for quality (skintone color, RAW capabilities, dynamic range) and rentability but not ergonomics AND I'm willing to buy used.
The models I am considering in order from my current favorite to least favorite (relatively speaking) are:
(1) Varicam LT (like the dual ISO, size, reliability)
(2) Blackmagic Ursa Mini Pro G2 (like BRAW)
(3) Amira (on the higher end but could get the body for $15k used, easy to rent out)
(4) Red Komodo (I love RED in general)
Note: I'm not a huge fan of Canon's color science -- even though I know this is an unpopular opinion. I haven't worked a lot with them but have seen YouTube comparison videos.
I'd love any thoughts. Thanks!
I searched to see if anyone else has brought up this issue on this sub. They have, but not quite the same way.
Iβm currently rewatching the show and Iβve noticed that sometimes during shot-reverse-shot segments, there should be camera operators in the background but there arenβt. Itβs a minor thing but it takes me out of the show sometimes.
For example, thereβs an episode where David Wallace is in the conference room in Scranton and all of a sudden thereβs a shot from behind him where he gets up and walks out of the room, then it cuts to the office area, but thereβs no camera people where the camera clearly just was.
The Office is a single camera show made to look like a multi-cam documentary, so the only way to make it more realistic would be to hire actors to play camera people where the real camera people are when they film the reverse angles. For me, I think it would have been a cool meta thing to include in the show.
Iβve always wondered how productions can perfectly pull, follow, and/or maintain focus on a moving subject, especially during action scenes and oners. If, for example, a scene called for an AC on steadicam revolving around a pair of characters in conversation as they are moving, how do they maintain focus with so much movement? Or a foot chase where the characters are moving and jumping around frantically? Do professional productions use autofocus?
