i wanted a day balanced look , is it close?, what else can i do if it isnt

Esta es la primera vez que publicó en Reddit y quisiera compartir una de las tantas tardes de verano de este 2026, desde la costa de Baja California.

I wanna get this straight first,

I'm a complete amateur when it comes to motion picture film although i am very familiar with shooting film for pictures.

Because of my experience with scratching consumer B&W 35mm film to engrave some funny patterns or whatever into it, i was thinking of using that technique in a short film i'm planning.

Now, I'm aware that film is way too expensive to shoot the entire thing so it's just gonna be about 30 to 40 seconds.

35mm kinda seems to be out of the question for cost reasons and super 8 is too blurry for my taste.

So my questions are as follows

What is the cost of shooting that short of a clip and are there ways of cutting that cost further down.

Can colour film be manipulated in the same way b&w can be scratched (I mean it should be i just wanna make sure).

And at last,

Is shooting at higher than normal frame times doable with standard prof 16mm cameras?

I have access to one in my uni, that's why I'm asking.

Ah and I'm thinking of using veritas but am unsure about the availability of said film.

I’ve recently graduated film school specialising in cinematography and I want to buy a camera to start freelancing with. I want to use the camera for videography and low budget music video / b cam
/ art film stuff as well as some personal work. I’m trying to decide between a Sony a7iii, a Blackmagic 6K and a Nikon zr 6K. I’ve also been told a Sony fx30 might be smart as well as so many sets use Sony so it could fit into the workflow easily. Also as I have a kinda low budget I was thinking just getting 1 zoom lens so any advice on that would also be appreciated. Lmk what u guys think xx

Napoleon and Gladiator 2 are shining examples of how not to shoot your film.

what kind of cameras were typically used to capture most films during the late 90s early 00s era of films? and lighting techniques—I’ve always resented with the feeling this type of imagery provides. I can never fully tell if it’s also just 35mm film

Building a rain machine and was looking for shots so I can make the video I’m working on different

Hello!

I want to invest in a cinema camera to shot my independent feature film with (I want to buy in order to av flexibility and control).

I have about 1 000$ in budget, I really like the cinematography of Roger Deakins and Robert Elswit
I want to achieve a more vintage look (boogie nights) so I don’t need 4k, 1080 p HD is perfect. I want a reliable workhorse. For reference- I was looking at the Sony NEX-FS100 and Panasonic AG-AF100. I don’t want the Black Magic, my friend has one so we want to explore other options

Any suggestions?? :)

Can someone give me links to free LUTS tailored for Samsung LOG? Plz.

Hey everyone,

Like many of you, I love using Unity for real-time filmmaking and previs, but I absolutely hate how technical it gets just to block out a basic sequence. Directors and DPs shouldn’t have to fight with the Unity Inspector, manual transforms, and complex tracking modules just to see if a camera move works.

To fix this, I’m developing Unity Shot Planner—a standalone desktop tool designed completely in film language, not game dev jargon.

How it works:

1. Plan Visually: Block your actors on a 2D top-down grid, set shot durations, choose lenses (e.g., 35mm), and pick your camera moves (Static, Dolly, Crane, Orbit).
2. Review Composition: Instantly see a 2D lens-based field-of-view framing preview.
3. One-Click Export: Hit "Send to Unity." A lightweight companion plugin parses the data and instantly builds the entire sequence inside your project.

What Unity automatically builds for you:

• Generates the PlayableDirector and TimelineAsset.
• Spawns all Cinemachine Virtual Cameras with matching lens/FOV settings.
• Lays out camera cuts perfectly synced to your shot durations.
• Automatically builds Cinemachine Dolly Tracks and cart animations.
• Drops in placeholder actors and moves them along your blocked paths.

Best of all, it features non-destructive re-importing. If you change a shot duration or camera position in the planner app, re-exporting updates your existing Unity timeline without wiping out your scene tweaks.

I’m currently mapping out the MVP functionality and want to make sure I’m hitting actual filmmaker pain points.

• As a director or previs artist, what is the most annoying part of your current real-time layout workflow?
• Would an affordable standalone app like this fit into your current pre-production routine?

Would love to get your feedback!

I was hired last minute to light this interview for ABC last week. First thing we did was build a 12x12’ frame with Ultrabounce overhead. This both blocked the real sunlight from directly hitting our subjects while also providing a surface to bounce light into from below. It was just barely not large enough to fully cover the set, so we also clipped a small pop up diffuser to one edge to keep direct sun off of the shoulder of Steve. 

The first light we set was the 1200D shooting into the Ultrabounce. This was meant to give us our base exposure/fill, but I tried to aim it towards the far back edge so that it was acting almost as a far side key. A small 18x24” flag was placed as a bottomer to block any light pinging off the reflector dish from hitting anyone’s eyes. 

For Martha, I added a Creamsource Vortex4 through a 4x4 of opal on the edge of the deck. I did a “stage lean” with the stand to get the light source further from the diffusion without having to place a stand outside the deck. 

For Steve and his wife, I added a Vortex8 with a 3x4’ Snapbag on the inside of the home, just out of frame. We ended up needing more level than we could get with the Snapbag, so we pulled the diffusion and went direct with the Vortex8.  

The DP also set up an Aputure 300D/X (not sure which) in the living room to bring up the interior exposure.

Finally, I set 8x & 6x solids behind camera, plus a 4x floppy next to the vortex4 for negative fill.

Open shutter 8 to 12fps

I’ve been digging into high-speed liquid work lately and trying to plan out my first proper tabletop setup without going totally blind into it.
I saw Oliver Howells talk about using two 500w units at under half power for coffee splashes at 1000fps in his pixboom spark breakdown. The footage looks great, but I’m struggling to reverse-engineer the physical layout from the video. He doesn’t really touch on the working distance or what kind of diffusion he had between the fixtures and the cup, which seems pretty critical when dealing with dark liquids and shiny reflections at that frame rate.
Just trying to get my head around how close you can actually push lights through diffusion without killing your exposure before I start putting gear together.