When a 400-foot roll of fresh 16mm stock costs upwards of $200 (yielding only about 11 minutes of footage), the math can kill a project before it begins. But there is a backdoor into the world of celluloid that seasoned cinematographers have used for decades. It’s called the “grey market” of raw stock: short ends and recans.

This guide demystifies these discounted resources, showing you how to source, test, and shoot them to achieve a premium look on an indie budget.

WHAT ARE SHORT ENDS AND RECANS?

To buy effectively, you need to know exactly what you are purchasing.

SHORT ENDS

These are the “leftovers” from a larger production. If a studio feature loads a 1,000-foot magazine but only shoots 600 feet, the remaining 400 feet is clipped off and placed back in a can. It is unexposed, perfectly good film, just in a shorter length than the factory standard.

RECANS

This is stock that was loaded into a camera magazine but never shot. Perhaps the scene was cut, or the lighting changed, and the magazine was downloaded back into a can. This stock has been handled, but not exposed to light (theoretically).

WHERE TO FIND THEM

In 2025, the marketplace for film stock has shifted online, but reputable vendors are still key to avoiding “fogged” (ruined) film.

1. DEDICATED RESELLERS (THE SAFEST BET)

These companies specialize in buying leftover stock from large productions, testing it, and reselling it. They often guarantee the quality.

2. DIRECT FROM PRODUCTIONS/DPS

Cinematographers often finish a project with extra rolls sitting in their fridge.

THE GOLDEN RULE: TRUST, BUT VERIFY (THE “SNIP TEST”)

Buying second-hand stock carries risk. The film could have been X-rayed at an airport, left in a hot trunk, or accidentally flashed. Never shoot an important project on a short end without testing it first.

How to Perform a Snip Test: You don’t need to shoot a whole roll to test it.

SHOOTING STRATEGY: MITIGATING RISK

Even with a clean test, second-hand film requires a slight adjustment in your shooting philosophy.

OVEREXPOSE SLIGHTLY

Older film loses sensitivity over time. A common rule of thumb for stock that is a few years old is to rate it slightly slower. If you have 500T stock, rate your light meter at 320 or 400 ISO. This “overexposure” helps punch through any potential base fog, ensuring rich blacks and good shadow detail.

USE FOR B-ROLL FIRST

If you are nervous, use your recans for inserts, landscapes, or experimental sequences before committing them to your main dialogue scenes.

STORE IT COLD

As soon as you get the film, put it in the fridge (or freezer for long-term storage). Heat is the enemy of film.

THE BOTTOM LINE:

Shooting film doesn’t require a Hollywood bank account; it requires hustle. By utilizing short ends and recans, you can often secure premium Kodak Vision3 stock for 20% to 50% less than retail price.

The audience doesn’t care if your film came from a factory-sealed box or a leftover can from a Marvel movie. They only see the image. So grab some “trash” stock, perform your snip test, and go make something cinematic.

Ready to Master the Analog Workflow?

Understanding filters is just one piece of the puzzle. To truly shoot film, you need to master the light meter, understand stock personalities, and know how to manipulate the chemical process itself.

In the Exposing Motion Picture Film Masterclass, Shane Hurlbut, ASC takes you through every step of this journey.

The post The Indie Film Guide to Short Ends & Recans appeared first on Filmmakers Academy.

Are you telling a story of fragmented memory? 

The chunky grain of Super 8 might be your tool. 

Maybe you’re crafting a gritty, cinema verité drama. 

The texture of 16mm is unmatched. 

Or, are you painting a sweeping epic? 

The pristine resolution of 35mm is the gold standard.

Not all film is created equal. In this guide, we break down the “Big Three” formats, comparing their aesthetics, workflows, and budgets to help you match the gauge to your story’s emotional needs.

(This article complements our Exposing Motion Picture Film Masterclass. To learn the technical science of exposing these stocks, click the banner below!)

1. SUPER 8: THE DREAMSCAPE

Winning Time: The Rise of the Lakers Dynasty (Season 1, Episode 9) | HBO

• The Aesthetic: Nostalgia, Memory, Intimacy, Chaos. 
• The Grain: Heavy, pronounced, and soft. 
• The Aspect Ratio: Typically 1.33:1 (4:3), though modern scans can crop to 16:9. 

Super 8 is the gateway drug of analog filmmaking. Originally introduced by Kodak in 1965 for the home movie market, it has evolved into a beloved aesthetic for music videos, dream sequences, and flashbacks. Because the negative is tiny (about 8mm wide with a single perforation), the image has a low resolution that feels impressionistic rather than realistic.

Why Choose Super 8? 

Choose Super 8 when you want to evoke a sense of the past or a fleeting memory. It breaks the “fourth wall” of perfection and feels handmade. It is imperfect, jittery, and deeply emotional.

2. 16MM / SUPER 16: THE INDIE SPIRIT

Carol (The Weinstein Company)

• The Aesthetic: Grit, Realism, Texture, “The New Hollywood.” 
• The Grain: Visible and organic, but sharp enough for theatrical projection. 
• The Aspect Ratio: Standard 16mm is 1.37:1. Super 16 (single perf) is 1.66:1, easily croppable to 1.85:1 or 16:9.

If Super 8 is a memory, 16mm is a documentary. Historically used for news gathering and independent cinema (think Clerks, Pi, or The Texas Chain Saw Massacre), 16mm strikes the perfect balance between economy and quality. In recent years, it has seen a massive resurgence in high-end productions like Carol, Black Swan, The Fabelmans, and HBO’s Euphoria.

Why Choose 16mm? 

Choose 16mm (specifically Super 16) when you want a cinematic look that feels grounded and textured. It creates a psychological closeness to the characters. It feels “lived-in.” And it separates the audience from the hyper-reality of digital 4K, providing a layer of artistic abstraction without sacrificing detail.

3. 35MM: THE PRISTINE CANVAS 

Oppenheimer | Universal Pictures

• The Aesthetic: Epic, Glossy, Timeless, “The Standard,” “The Blockbuster.” 
• The Grain: Fine, tight, and incredibly sharp. 
• The Aspect Ratio: Versatile. 4-Perf (Anamorphic scope), 3-Perf (1.78:1/1.85:1), and 2-Perf (Techniscope).

This is the format that built Hollywood. From The Wizard of Oz to Oppenheimer (which mixed 35mm with IMAX), 35mm film offers a resolution and dynamic range that rivals and often exceeds the best digital sensors. It captures roughly 6K to 8K worth of data. The grain is present, but it serves as a subtle texture rather than a dominant feature.

Why Choose 35mm? 

Choose 35mm when you want the ultimate visual fidelity with the organic soul of celluloid. It offers superior highlight roll-off, incredible latitude, and a depth of color that feels rich and three-dimensional. It tells the audience they are watching a “Movie” with a capital M.

4. 65MM/IMAX: THE ULTIMATE SPECTACLE 

Dune: Part 1 (2021) | Legendary Entertainment

• The Aesthetic: Immersive, Hyper-real, Grandiose. 
• The Grain: Virtually invisible; unmatched clarity. 
• The Aspect Ratio: 2.20:1 (Standard 5-perf) or 1.43:1 (15-perf IMAX).

If 35mm is the gold standard, 65mm is the platinum. This is the format of Lawrence of Arabia, 2001: A Space Odyssey, and more recently, Dune: Part Two. It uses a massive negative area (roughly 3-4 times larger than standard 35mm) to capture images with unparalleled resolution, sharpness, and color depth.

Why Choose 65mm? 

Choose 65mm when you need absolute immersion and scale. It creates an image so detailed it feels like looking through a window rather than at a screen. It demands attention and is typically reserved for landscapes, massive set pieces, or emotional close-ups where every pore matters.

THE BOTTOM LINE: MATCH THE MEDIUM TO THE MESSAGE

There is no “best” format. There is only the right format for your story.

• Super 8 for the dreamers and the memory-makers.
• 16mm for the realists and the indie rebels.
• 35mm for the epic storytellers and visual purists.

However, choosing the gauge is only the first step. To truly harness the power of film, you must know how to expose it. You need to understand how light interacts with the silver halide crystals, how to use a light meter, and how to manipulate the chemical process.

Ready to Stop Guessing and Start Measuring?

Join the Exposing Motion Picture Film Masterclass on Filmmakers Academy. In partnership with KODAK, Shane Hurlbut, ASC takes you on a deep dive into the science of exposure for all three of these formats. Learn the craft that digital can’t teach you.

• Additional Film Resources via Kodak

The post Super 8 Film vs. 16mm Film vs. 35mm Film appeared first on Filmmakers Academy.

In a recent, candid episode of the Inner Circle Podcast, director Emily Ting (Tall Girl 2, Go Back to China) sat down with hosts Shane Hurlbut, ASC, and Lydia Hurlbut to share her incredible story. From defying family expectations to self-financing her first features and navigating the pressures of a studio set, Emily’s journey offers a powerful and practical roadmap for any filmmaker looking to make their mark.

This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland.

WATCH THE FULL EPISODE:

THE CROSSROADS: PASSION VS. FAMILIAL OBLIGATION

Emily Ting’s journey began not on a film set, but with a difficult choice. After discovering a love for movies by writing film reviews in high school, she was accepted into the prestigious film program at NYU. For many, this would be a clear sign, but for Emily, it created a major conflict. As the eldest of seven children in a traditional Chinese family, the expectation was that she would join her father’s successful toy company in China.

Telling her father she wanted to be a filmmaker instead of a businesswoman felt like a “betrayal” to him. 

“He just thought I went and did this thing without consulting with him,” Emily recalls. 

This led to years of friction and guilt. Ultimately, her father supported her education, but with the expectation that she would eventually “get it out of her system” and return to the family business. And for a while, she did. After graduation, facing what she describes as “emotional blackmailing,” Emily spent her 20s working for the family toy company in Hong Kong.

While creatively fulfilling in its own way—pitching ideas and designing toys prepared her for Hollywood—it wasn’t her true path. 

“I kind of look back at my 20s, and I realized, ‘Oh, my God, I just totally lived this life that my father chose for me,'” she shared. 

It was a turning point that led her back to filmmaking, but with a decade of life experience and a renewed sense of purpose.

THE RETURN TO FILM: A GRASSROOTS APPROACH TO RE-ENTRY

At age 30, Emily moved to Los Angeles to finally give her dream a real shot. But how do you re-enter an industry after a decade away? Her strategy was brilliant and humble: she started producing micro-budget films for friends from her NYU network. It was a way to “relearn the film [industry]” from the ground up.

Her first project, The Kitchen, was made for just $60,000. She was a producer with no real experience, faking it ’til she made it while negotiating with agents for recognizable actors who just wanted to come and play. 

“I was able to ask questions without [being mocked],” she says, highlighting the importance of finding supportive collaborators. 

It was during this time she found a crucial mentor in producer Mynette Louie, offering her a spare room in exchange for learning how to produce a movie. This period demonstrates a key lesson: be open, be resourceful, and leverage your network, no matter how long it’s been.

THE INDIE BREAKTHROUGH: SMART FILMMAKING AND SEIZING OPPORTUNITY

With on-set experience under her belt, Emily wrote her first feature, Already Tomorrow in Hong Kong. She designed the film strategically, knowing she would have to self-finance it with the money she had saved. By writing a “two-hander” (a story focused on just two characters), she kept the logistics and budget manageable.

Then, a moment of synchronicity struck. An actor from The Kitchen, Bryan Greenberg, asked about her next project. He happened to be dating Jamie Chung, who was Emily’s dream actress for the lead role. One email later, her dream cast was attached. 

“People were like, ‘don’t get used to this,'” Emily laughs.

She shot the film “guerrilla style” on the streets of Hong Kong, using real crowds as free extras. The film not only got made but premiered at the LA Film Festival, secured distribution, and turned a profit. It was proof that smart, strategic, self-financed filmmaking could work.

LEVELING UP: BETTING ON HERSELF, AGAIN 

After her first feature’s success, Emily did the “water bottle tour” of general meetings at studios but found it wasn’t leading to tangible jobs. Fearing she’d become a “one and done” statistic, she made a bold move. 

“I’m gonna take the money that I made on my first movie and I’m gonna go make a second one,” she decided, against the advice of many.

That second film, the more personal and traditionally structured Go Back to China, was her “level up.” While it hasn’t been as financially successful as the first, its acceptance into the prestigious SXSW film festival changed everything. It got her new, more effective agents who began pitching her for major studio directing assignments.

THE HOLLYWOOD LEAP: TALL GIRL 2 OVERCOMING IMPOSTER SYNDROME 

Emily’s agents positioned her as a great fit for YA (Young Adult) content, which led her to pitch for Netflix’s Tall Girl 2. Her pitching process is meticulous. She creates a thorough visual deck covering everything from cinematography and production design to color palettes and locations. 

Photo Courtesy of Emily Ting

She advises, “It’s almost as important how you say something versus what you say.” 

Confidence, born from over-preparation, is key.

Landing her first studio film was a dream come true, but it came with immense pressure. She was directing a multi-million dollar movie in New Orleans while a new mother to one-and-a-half-year-old twins during the height of the COVID-19 pandemic. 

“I had so much imposter syndrome,” Emily admits. “I felt like there was a lot of target on my back. Like, how does she get to this point?”

Emily overcame this by being honest about what she didn’t know and fostering a supportive set. She describes her leadership style as leading with “kindness.” Surrounding herself with an experienced crew, including Shane Hurlbut, ASC, who she initially found intimidating due to his resume, was crucial. 

Photo Courtesy of Shane Hurlbut, ASC

“You were so patient, and I was not afraid to ask questions because you made it safe for me to do so,” she told Shane.

STAYING AFLOAT: THE DIRECTOR’S DISCIPLINE

In the face of industry contractions and strikes, Emily’s approach to dealing with downtime is another vital lesson. She now relies 100% on filmmaking for her income, a source of anxiety for any freelancer. Her solution? Discipline.

“I could write anytime I want to,” she says. “Last year, I wrote four scripts.” 

She treats writing like a day job, with a daily quota of 10 pages. This consistent output is a strategic way to increase her chances of selling a script or getting a project made. She found a reliable market in writing Christmas movies for Hallmark, an outlet that allows her to insert personal stories into a commercially viable format. 

“Every script I finish is a chance,” she explains.

THE BOTTOM LINE: A ROADMAP TO A DIRECTING CAREER

Emily Ting’s story shows how resilience, strategic thinking, and the importance of a relentless work ethic is key to success. Her journey offers invaluable takeaways: leverage your life experience, build and maintain your network, make smart creative choices on a budget, and when you get your shot, lead with confidence but also with kindness. And perhaps most importantly, in the quiet times between projects, keep creating. That discipline is what transforms a filmmaking dream into a sustainable career.

To hear all the incredible details of Emily’s journey, the challenges she faced, and the hard-won lessons she learned on her path from indie filmmaker to Hollywood director, be sure to listen to the full conversation on the Inner Circle Podcast.

JOIN FILMMAKERS ACADEMY AND SAVE $50!

Ready to take your filmmaking skills to the next level? Join the Filmmakers Academy community and gain access to exclusive content, expert mentorship, and a network of passionate filmmakers. Use code FABLOG50 to save $50 on your annual membership! 

This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland. 

TUNE INTO PREMIUM FILMMAKERS ACADEMY PODCASTS

The post Director Emily Ting’s Guide: Indie Filmmaking to Hollywood appeared first on Filmmakers Academy.

What sets Blackmagic apart? It’s a combination of factors: disruptive pricing, innovative technology, and a commitment to putting powerful tools in the hands of filmmakers of all levels. They’ve essentially democratized access to features and image quality that were once the exclusive domain of high-end productions. 

But with a growing lineup of cameras, choosing the right Blackmagic model can be a challenge. This guide will break down their evolution and their key camera systems and help you find the perfect fit for your needs.

More Articles on Blackmagic Cameras:

• Blackmagic PYXIS Monitor: Full Camera Control & Versatility
• Camera Sensor Comparison: URSA Cine 12K vs RED V-Raptor vs Alexa 35
• Blackmagic URSA Cine 12K: The Future is Modular

BLACKMAGIC DESIGN: A BRIEF HISTORY OF DISRUPTION

Blackmagic Design wasn’t always a camera company. They started by creating high-end post-production tools, most famously their DaVinci Resolve color grading software. This deep understanding of the post-production workflow gave them a unique perspective when they decided to enter the camera market.

Their first camera, the original Blackmagic Cinema Camera (BMCC) released in 2012, was a shock to the industry. It offered RAW recording capabilities at a price point far below anything else on the market. While it had its quirks (ergonomics weren’t its strong suit), it proved that high-quality digital cinema didn’t have to cost a fortune.

Since then, Blackmagic has steadily expanded and refined its camera lineup, learning from each iteration and consistently pushing the boundaries of what’s possible at a given price point. They’ve moved from being seen as a “budget” option to a serious contender in the professional cinema camera market, with cameras used on everything from indie films to major Hollywood productions.

BLACKMAGIC CAMERA LINEUP: A SYSTEM FOR EVERY NEED

Blackmagic’s current camera lineup can be broadly divided into several categories, each with its own strengths and target user.

1. POCKET CINEMA CAMERAS (BMPCC): COMPACT POWERHOUSES

The Pocket Cinema Camera line is all about portability and affordability without sacrificing image quality. These cameras are surprisingly small, making them ideal for run-and-gun shooting, documentaries, vlogging, and situations where a discreet camera is needed.

BMPCC 4K

The original Blackmagic Pocket Cinema Camera 4K (BMPCC 4K) shocked the industry. It offered internal RAW recording (Blackmagic RAW) and ProRes at 4K, a Micro Four Thirds sensor, and a vast lens selection, all at an unprecedented price.

BMPCC 6K

Blackmagic Pocket Cinema Camera 6K (BMPCC 6K) upped the ante with a larger Super 35 sensor for a more cinematic look and 6K resolution for greater detail. It adopted the popular Canon EF lens mount. The BMPCC 6K G2 followed as an improved iteration.

BMPCC 6K G2 & BMPCC 6K PRO

The Blackmagic Pocket Cinema Camera 6K Pro (BMPCC 6K Pro) represents the line’s evolution. It retains the compact form but adds crucial features like built-in ND filters and a brighter HDR screen. An optional EVF further enhances usability.

BMPCC 6K PRO adds built-in ND filters, a brighter HDR screen, and the option for an EVF, making it a more complete and versatile camera.

The Pocket Cinema Camera line isn’t just about individual models; it’s about an ecosystem. Blackmagic’s tight integration with DaVinci Resolve and the highly efficient Blackmagic RAW (BRAW) codec streamline the post-production workflow. What began as a “budget” option has matured into a serious contender, offering portability, image quality, and affordability in a unique combination. The versatility of the cameras allows them to be fully rigged or shot handheld.

2. URSA MINI PRO: THE VERSATILE WORKHORSE

The URSA Mini Pro series represents Blackmagic Design’s commitment to providing a versatile, robust camera system for professional production environments. These cameras bridge the gap between the compact Pocket Cinema Cameras and the flagship URSA Cine line, offering a compelling blend of features, performance, and ergonomics. They’re designed to be the workhorses of film sets, documentaries, and broadcast studios.

The URSA Mini Pro cameras are significantly larger than the Pocket cameras, and for good reason. This larger form factor accommodates essential professional features: built-in ND filters (crucial for controlling exposure in varying light conditions), professional audio inputs (XLR with phantom power), and a more traditional cinema camera body with ample space for controls and connections. One of the standout features is the interchangeable lens mount, allowing you to use PL, EF, F, and even B4 lenses (with the appropriate mount), providing incredible flexibility for different projects and lens choices.

URSA MINI PRO 4.6K G2

The URSA Mini Pro 4.6K G2 quickly became a favorite among filmmakers. Its Super 35 sensor delivers exceptional image quality, with a claimed 15 stops of dynamic range, capturing impressive detail in both highlights and shadows. It also boasts high frame rate capabilities, making it suitable for slow-motion work.

URSA MINI PRO 12K

The URSA Mini Pro 12K marked a significant technological leap. While its 12K resolution is impressive, the real innovation lies in its unique sensor design. This sensor allows for in-camera scaling to 8K or 4K without cropping the image, preserving the full field of view of your lens at any resolution. This flexibility, combined with Blackmagic RAW recording, makes it a powerful tool for a wide range of productions, from high-resolution cinema to projects where efficient workflow is paramount. The URSA Mini Pros offer a robust design that’s made for versatility.

3. URSA BROADCAST: DESIGNED FOR LIVE PRODUCTION

The URSA Broadcast line departs from Blackmagic’s cinema-focused cameras, designed specifically for the demanding world of broadcast and live production. These cameras prioritize features essential for live workflows, multi-camera setups, and the specific needs of broadcast studios and ENG (Electronic News Gathering) teams.

The defining characteristic of the URSA Broadcast cameras is their B4 lens mount. This is the industry standard for 2/3-inch broadcast lenses, offering a wide range of zoom ratios, excellent optical quality, and parfocal performance (maintaining focus throughout the zoom range). This is crucial for live events where quick and precise zooming is essential.

Beyond the lens mount, Blackmagic Design packs the URSA Broadcast cameras with features tailored for live production.

URSA BROADCAST G2

The URSA Broadcast G2 represents the latest iteration, offering a versatile platform for both studio and ENG applications. Its robust design, professional connectivity, and integration with Blackmagic’s broadcast ecosystem make it a powerful and cost-effective solution for live events, news gathering, sports broadcasting, and studio productions. It offers the best of both worlds for those who do broadcast work and also ENG.

4. URSA CINE: THE NEW FLAGSHIP

The URSA Cine line firmly establishes Blackmagic Design as a major player in high-end digital cinema. These cameras aren’t incremental updates; they represent a significant leap forward, built around groundbreaking sensor technology and designed for the most demanding productions. The URSA Cine series combines exceptional image quality, unparalleled resolution flexibility, and seamless workflow integration, challenging the status quo of the industry.

At the heart of the URSA Cine 12K LF and 17K 65 models lies a revolutionary RGBW sensor, a departure from traditional Bayer pattern designs. This unique 6×6 grid incorporates white (W) photosites alongside red, green, and blue, dramatically increasing light sensitivity and delivering an impressive 16 stops of dynamic range on the 12K LF model. This translates to incredible detail and latitude in both highlights and shadows.

The URSA Cine series offers unprecedented resolutions: a stunning 12K on the LF model and a staggering 17K on the 65mm model. This provides filmmakers with immense creative flexibility, allowing for extensive reframing, detailed visual effects work, and superior image quality through oversampling, even when delivering in lower resolutions. Adding to this flexibility is in-sensor scaling. The URSA Cine cameras can shoot at various resolutions without cropping the sensor, preserving the full field of view of the lens.

Beyond the sensor, the URSA Cine cameras are built for professional workflows. Robust construction, multiple mounting points, and professional connections (12G-SDI, XLR audio) are standard. Deep integration with DaVinci Resolve streamlines the post-production process. Blackmagic offers a box-style design with the PYXIS. Furthermore, Blackmagic continues its commitment to innovation with the URSA Cine Immersive, the world’s first commercial camera specifically designed for capturing Apple Immersive Video. The URSA Cine is more than a camera, it’s a statement.

KEY FEATURES:

5. STUDIO CAMERAS: AFFORDABLE LIVE PRODUCTION

Blackmagic Design’s Studio Cameras are purpose-built for live production, offering a tightly integrated and surprisingly affordable solution for multi-camera setups. These cameras move beyond the traditional, component-based approach to broadcast cameras, integrating essential features directly into a compact and user-friendly design.

The core of the Studio Camera concept is integration. A large, bright viewfinder, tally lights (for on-air indication), and talkback (for communication with the director) are all built-in, eliminating the need for external accessories and simplifying setup. A single operator can remotely control focus, iris, zoom (with compatible lenses), color balance, and other parameters from a central control panel or even via software.

Image quality is not compromised. The cameras feature 4K and 6K sensors, delivering sharp, detailed images and excellent color accuracy. They utilize the Micro Four Thirds lens mount (with the 6K Pro offering an EF mount), providing access to a vast range of lenses.

Blackmagic’s Studio Cameras, combined with their ATEM switchers and DaVinci Resolve software, create a complete, integrated ecosystem for live production and post-production, making professional-quality broadcasting accessible to a much wider range of users.

WHICH BLACKMAGIC CAMERA IS RIGHT FOR YOU? (BEST FOR… SCENARIOS)

Choosing the right Blackmagic camera depends heavily on your specific needs and budget. Here’s a breakdown of which cameras excel in different scenarios…

THE BLACKMAGIC ECOSYSTEM: MORE THAN JUST CAMERAS

One of the key advantages of choosing Blackmagic Design is its integrated ecosystem. Their cameras are designed to work seamlessly with DaVinci Resolve, their industry-leading editing, color grading, visual effects, and audio post-production software. 

This tight integration simplifies the post-production workflow and ensures optimal image quality. Blackmagic RAW (BRAW), their proprietary codec, offers a great balance between image quality and file size, making it a versatile choice for various projects.

THE FUTURE OF BLACKMAGIC CAMERAS

Blackmagic Design has shown a consistent commitment to innovation and pushing the boundaries of what’s possible in digital cinema. They listen to their users, constantly refine their products, and aren’t afraid to disrupt the status quo. 

It’s safe to say that Blackmagic will continue to be a major player in the camera industry, offering powerful and affordable tools to filmmakers of all levels. The recent release of the URSA Cine line, particularly the groundbreaking 17K 65mm model, demonstrates their ambition to compete at the very highest end of the market. They are no longer just a “budget” option. They are a serious contender for any production, regardless of scale.

SEE THE URSA CINE 12K LF IN ACTION!

Don’t miss this exclusive opportunity to witness the power of the Blackmagic URSA Cine 12K LF firsthand. Join Filmmakers Academy and Blackmagic Design for a free, live demonstration on Tuesday, March 25th, 2025.

Cinematographer Shane Hurlbut, ASC, along with colorist Dave Cole and Cinematography Product Specialist Tor Johansen, will put the camera through its paces, answering your questions live. Plus, you could win a Blackmagic PYXIS camera or other great prizes!

Blackmagic Cameras:

Blackmagic Design URSA Cine Immersive Camera

The post A Guide to Blackmagic Cameras 2025 appeared first on Filmmakers Academy.

Blackmagic Design’s new URSA Cine 12K Body offers filmmakers unprecedented customization and value. But what about the full camera system? Stay tuned for Filmmakers Academy’s exclusive demonstration with Shane Hurlbut, ASC, and colorist David Cole on March 18, 2025, at 10:00 AM PT, where we’ll put the complete URSA Cine 12K through its paces! Register for FREE!

DOING MORE WITH LESS: A NEW PARADIGM FOR INDIE FILMMAKERS

For years, independent filmmakers have been masters of ingenuity, finding creative ways to stretch their limited resources. The URSA Cine 12K Body embodies this spirit, offering a “body only” option that allows filmmakers to customize their camera setup precisely to their needs. This means you’re not paying for accessories you already own or don’t require for your specific shooting style.

This is ideal for experienced cinematographers with a collection of lenses, monitors, and power solutions. The URSA Cine 12K Body presents an incredible value proposition. You get the heart of a high-end cinema camera — the exceptional 12K sensor, the renowned Blackmagic color science, and the robust build quality — without the added cost of redundant accessories. 

This “body only” model is listed at US$6,995 (excluding local duties and taxes), a significant savings compared to the fully kitted version.

THE EDUCATIONAL ANGLE: EMPOWERING THE NEXT GENERATION

At Filmmakers Academy, we’re passionate about empowering filmmakers at every stage of their journey. The URSA Cine 12K Body is not just a new camera; it’s a powerful educational tool. It highlights the importance of understanding your gear, your needs, and your budget. It encourages a modular approach to filmmaking, where you build your kit piece by piece, learning the nuances of each component along the way.

This camera body is also an excellent upgrade path for existing Blackmagic Design camera owners. If you’ve honed your skills on a Pocket Cinema Camera or an earlier URSA model, the URSA Cine 12K Body offers a seamless transition to a more advanced system, leveraging the accessories and knowledge you’ve already acquired. This could be especially true for filmmakers who began with the BMPCC 4K, and can now upgrade to 12K while maintaining a similar camera language and color science they are already comfortable using in their workflow.

UNPACKING THE TECH: A DEEP DIVE INTO CINEMATIC EXCELLENCE

Let’s not forget what makes the URSA Cine 12K so special in the first place. At its core lies a groundbreaking 12K full-frame sensor, a marvel of engineering that delivers stunning image quality, exceptional dynamic range (16 stops!), and unparalleled flexibility in post-production. But it’s not just about resolution; it’s about the quality of those pixels.

MULTI-SCALE SENSOR DESIGN 

One of the most innovative features of the URSA Cine 12K is its multi-scale sensor. This allows you to shoot in 12K, 8K, or 4K at the full sensor size, without cropping. This is a game-changer for filmmakers who need to deliver in multiple formats or want the flexibility to reframe in post without sacrificing resolution. 

You can even shoot in Super 35 or Super 16 modes, adding even more flexibility to your lens choices. This enables documentary filmmakers to shoot in 8K or 4K for faster data rates and longer record times while enabling VFX plates to be shot in the full 12K resolution.

BLACKMAGIC COLOR SCIENCE 

Blackmagic Design’s color science, honed through years of experience with DaVinci Resolve, is legendary in the industry. The URSA Cine 12K’s sensor is specifically designed to work seamlessly with Resolve, resulting in images that are rich, nuanced, and incredibly pleasing to the eye. 

The camera features the latest Blackmagic color science with specially chosen color filters to match DaVinci Resolve’s image science and processing.

HIGH FRAME RATE CAPABILITIES

The URSA Cine 12K is no slouch when it comes to slow motion. It can shoot up to 80 fps in 12K, 144 fps in 8K, and a whopping 240 fps in 4K. This opens up a world of creative possibilities for capturing dramatic action sequences or ethereal, dreamlike imagery. 

You can also shoot at 224 fps in 8K 2.4:1 or 144 fps in 8K 3:2 open gate. Even at its highest resolution, you can still shoot 120 fps in 12K 2.4:1.

ANAMORPHIC SHOOTING 

For those who crave the classic widescreen look, the URSA Cine 12K supports anamorphic shooting with a range of de-squeeze factors (1.3, 1.5, 1.6, 1.66, 1.8, and 2x). This allows you to create cinematic images with that signature anamorphic bokeh and flare. 

What an amazing feature for the cost, as anamorphic shooting has typically been reserved for higher-end and more expensive cinema cameras.

BUILT-IN OLPF (OPTICAL LOW-PASS FILTER)

An often-overlooked but crucial element, the OLPF helps to reduce moiré and aliasing, ensuring your images are clean and free of unwanted artifacts. 

The URSA Cine 12K’s OLPF is specifically matched to the sensor and features updated IR filtering for improved far-red color response.

MULTIPLE RECORDING OPTIONS

The URSA Cine 12K Body includes a dual CFexpress media module, allowing you to record to industry-standard CFexpress cards. These cards offer fast data rates and are readily available. 

For those who need even more storage capacity, Blackmagic Design offers an optional 8TB Media Module.

BLACKMAGIC RAW

This proprietary codec offers the perfect balance of image quality and file size, giving you incredible flexibility in post-production. You can adjust white balance, exposure, and other parameters in DaVinci Resolve without any loss of quality. 

This is particularly helpful in run-and-gun situations where you are unable to do a custom white balance for each shot.

PROXY WORKFLOW

The URSA Cine 12K can simultaneously record a small H.264 proxy file alongside the Blackmagic RAW footage. This proxy file can be quickly uploaded to Blackmagic Cloud, allowing your editor to start working on the footage almost immediately, even while you’re still on set. This is a massive time-saver for fast-turnaround projects.

CONNECTIVITY AND WORKFLOW: DESIGNED FOR THE MODERN SET

The URSA Cine 12K is not just about image quality; it’s also about a streamlined workflow. It’s packed with industry-standard connections, including Lemo and Fischer connectors for remote control and powering accessories, 12G-SDI outputs, 10G Ethernet, USB-C, and XLR audio.

BLACKMAGIC CLOUD INTEGRATION

This is a game-changer for collaborative workflows. You can record directly to Blackmagic Cloud, allowing your team to access the footage from anywhere in the world. This is perfect for remote editing, color grading, and VFX work.

LIVE STREAMING

The URSA Cine 12K has a built-in hardware streaming engine that supports RTMP and SRT protocols. This means you can live stream directly from the camera to platforms like YouTube, Facebook, or even directly to clients. 

The live streaming feature has obvious applications for live events, but it can also be used for remote monitoring or even as a high-quality webcam for virtual meetings.

DUAL MONITORING OPTIONS

The camera features a large 5″ fold-out HDR touchscreen on one side and a color status LCD on the other. Additionally, there’s a dedicated assist station with a second 5″ HDR touchscreen, allowing multiple crew members to monitor the image simultaneously. 

There’s even a dedicated focus puller’s mode to help achieve perfect focus.

OPTIONAL EVF

For those who prefer a more traditional shooting experience, Blackmagic Design offers an optional URSA Cine EVF. This high-quality OLED display provides a clear and accurate view of the image, even in bright sunlight. 

It features a built-in proximity sensor, a 4-element glass diopter, and a digital focus chart for precise focusing.

BLACKMAGIC MEDIA DOCK

This accessory allows you to mount up to three Blackmagic Media Modules, providing high-speed access to media from multiple cameras. This is a huge time-saver in post-production, allowing you to quickly ingest and start working on your footage.

THE BIGGER PICTURE: DEMOCRATIZING FILMMAKING

The Blackmagic URSA Cine 12K Body is more than just a camera. It’s a symbol of a larger trend in the filmmaking industry. Technology is breaking down barriers, making it possible for independent filmmakers to compete with major studios on a visual level. This democratization of filmmaking is not just about affordability. It’s about empowering a new generation of storytellers to share their unique perspectives with the world.

By offering a customizable, high-quality camera at a competitive price, Blackmagic Design is not only providing a valuable tool but also championing a more inclusive and diverse filmmaking landscape. It’s a reminder that great stories can come from anywhere and that the tools to tell those stories are becoming increasingly accessible to everyone.

GET READY FOR AN IN-DEPTH LOOK: FILMMAKERS ACADEMY REVIEWS THE URSA CINE 12K

But the exploration of the Blackmagic URSA Cine 12K doesn’t stop here! The “body only” configuration of the URSA Cine 12K is just one piece of this exciting puzzle. There’s so much more to unpack about this camera’s full capabilities.

That’s why we at Filmmakers Academy are thrilled to announce that we’ll be releasing an exclusive, in-depth review of the Blackmagic URSA Cine 12K camera system, coming this March! 

Join cinematographer Shane Hurlbut, ASC, and expert colorist David Cole as they put this groundbreaking camera through its paces.

Shane and David will dive deep into the URSA Cine 12K’s features, image quality, workflow, and real-world performance. This will provide you with the expert insights you need to decide if this is the right camera for you. 

They’ll be testing the full camera system, exploring its dynamic range, color science, high frame rate capabilities, and how it integrates into a professional post-production pipeline using DaVinci Resolve. Plus, they will be able to give exclusive insight into how they use the camera to tell a story.

This is a review you won’t want to miss! The Blackmagic URSA Cine 12K LF Demo goes live virtually on our platform on March 18th, 2025 at 10:00 AM PT. Click the button below to register for FREE! 

THE BOTTOM LINE

The URSA Cine 12K Body is an invitation to explore, experiment, and push the boundaries of your creativity. It’s a reminder that you don’t need a Hollywood budget to create cinematic magic. With the right tools, a bit of ingenuity, and a lot of passion, you can bring your vision to life and share your stories with the world.

So, whether you’re an experienced cinematographer looking to upgrade your kit or an indie filmmaker taking your first steps into the world of high-end cinema, the Blackmagic URSA Cine 12K Body offers an exciting opportunity to do more with less and to be a part of the ongoing democratization of filmmaking.

Blackmagic Cameras:

Blackmagic Design URSA Cine Immersive Camera

The post Blackmagic URSA Cine 12K: The Future is Modular appeared first on Filmmakers Academy.

The post “Vigilante”: Indie Filmmaking Outside the Studio System appeared first on Filmmakers Academy.

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SmallHD Monitor Settings for Razor-Sharp Focus Pulling

Tired of missed focus pulls and blurry shots? Frustrated by eye fatigue after long hours behind the monitor? Fear not! Renowned 1st AC Derek Edwards is here to share his insider tips for optimizing your SmallHD 1303 monitor and taking your focus pulling game to the next level.

In this video tutorial, Derek reveals his personal monitor setup and the techniques he’s honed over two decades of working on Hollywood blockbusters. Discover how to leverage focus assist, peaking, and a surprising black & white mode to achieve razor-sharp focus with minimal eye strain.

SMALLHD 1303 MONITOR SETUP

Now, let’s take a look at how Derek sets up his SmallHD 1303 monitor for optimal focus pulling. 

UNLEASHING THE POWER OF PEAKING

Derek swears by green peaking for its exceptional contrast against most scenes, making it easier to spot those critical areas of sharpness. He emphasizes the importance of adjusting the peaking sensitivity and threshold to match your individual preferences and the specific lighting conditions of each scene.

THE SECRET WEAPON: BLACK & WHITE MODE

Prepare to be surprised! Derek’s secret weapon for focus pulling is actually switching the monitor to black & white mode.This eliminates distracting colors and allows him to focus solely on contrast and sharpness, resulting in faster, more accurate focus pulls.

SHARPEN YOUR FOCUS, SHARPEN YOUR SKILLS

Whether you’re a seasoned focus puller or just starting out, Derek’s tips will help you level up your game. Experiment with his settings and techniques to discover what works best for your eyes and workflow.

Remember, these are just starting points. The beauty of the SmallHD 1303 lies in its flexibility. By customizing your monitor setup, you can unlock its full potential and achieve the kind of focus precision that sets professionals apart.

BECOME A CAMERA DEPARTMENT NINJA

Want to become an indispensable asset on any film set? Dive deeper into the world of camera department mastery with the all-new Camera Crew Playbook Masterclass. 

This comprehensive masterclass is led by Derek Edwards and renowned cinematographer Shane Hurlbut, ASC. Together they cover everything from focus pulling techniques to equipment troubleshooting and on-set collaboration.

Learn more about the Camera Crew Prep Masterclass!

ABOUT DEREK EDWARDS

Derek Edwards is the trusted 1st AC of renowned cinematographer Shane Hurlbut, ASC, with over 20 years of experience on major Hollywood productions. He’s a master of his craft, constantly pushing the boundaries of camera technology and methodology.

Book a Coaching Session with Derek Edwards today!

ABOUT SHANE HURLBUT, ASC

Shane Hurlbut, ASC, is a visionary cinematographer and innovator. He’s a pioneer in the digital filmmaking revolution and a passionate educator. That’s why he’s dedicated to sharing his knowledge with the next generation of filmmakers.

Don’t miss this opportunity to learn from the best in the business. Whether you’re a seasoned pro or just starting out, these tips will help you sharpen your focus and elevate your craft.

Book a Coaching Session with Shane Hurlbut, ASC today!

CAMERA CREW PLAYBOOK MASTERCLASS PRODUCTS

The post SmallHD Monitor Settings for Razor-Sharp Focus Pulling appeared first on Filmmakers Academy.

Take it away, Sherri!

Author: Sherri Kauk

$800

“When I have more money and more time on the next film, I’ll be able to…”  creeps into the headspace. Shoo! Ever had that thought creep into your mind? It’s destructive and limits achieving creative style.  

In pursuit of silencing that “if only” voice and advancing head on toward money and time challenges, I want to share a case study shooting Dave Palamaro’s Murder Made Easy (2018).

“Murder Made Easy” poster (2018)

Connecting to the Director’s Vision

When Dave brought Murder Made Easy to me, he pitched a strong vision – a murder mystery in one location utilizing long, single takes, requiring dynamic camera and talent blocking – an homage to Hitchcock’s Rope (1948).

Alfred Hitchcock’s “Rope” (1948)

This is 100% a steadicam feature.  We’ll have an operator, focus puller, wireless video and 2nd AC.  For lighting the long takes, I’ll pre-rig zones and utilize practicals via a dimmer board, board operator and a pre-rig day.  A gaffer, key grip and dimmer operator should cover us for this indie micro budget shoot.

Right?

Not even close. 

Dave then delivers his shoestring budget. Camera is free from a friend. Hopefully, we can shoot with the condominium lights on and if not, what’s the minimum I need to make it work?  Dave says he has one penny and one PA a day for camera, grip and electric. He isn’t lying about having only one PA for my entire crew.  

Hmm.

So, no steadicam. No wireless. No crew.

Do I want to make this film?

Is this possible?  

I love that ‘Rope 2.0’ is the complex, immersive style Dave “settled” on during his own creative process of working through budget and time limitations. Crazy! I really love that he did not choose to deflate his vision, mis-believing that “his next film – the one with the bigger budget and more time – will be the one he does right,” but, rather, found expansiveness in the style of Rope to execute a complete story experience.   

This choice to hustle the vision into a creative form that allows for it to live fully is what is working.  It’s the center-force of this feature film.  Now, can I find an equally creative way to make it possible cinematically?

The Location

“My friend is letting us use his place.”  You know the pit in your “make beautiful images” stomach when you hear this?  It’s legit.  That is where we are shooting – a place that is beautiful to live in, but… we’ve got white walls, a multi-level first floor and a “no painting, no rigging” wysiwyg location agreement.    

Are you serious?!

The voice snickers: “For the next film, you’ll be able to really shoot it right because you will be able to paint the walls, rig overhead lighting, and use a dolly or steadicam OR BOTH for the long takes…”  

Begin operation: “Control light fall-off.” Turn off the overhead house lighting.  

The steps of the condo eliminate a dolly being the moving camera answer. The budget cancels out a steadicam. The director does not like the “handheld look.” When Dave says he does not like the handheld look, it is possible that what he is more specifically communicating is this: he is seeking a composed, formal framing style that visually communicates the premeditated component in both Hitchcock’s Rope and Dave’s Murder Made Easy.

Begin operation: “Steadi moving camera.”

No rigging allowed – I don’t know the answer to this one yet.  

Begin operation: “Find a solution.”

The Gear

Dave’s friend has loaned him a Canon 5D and a 24-105 f4 stock lens.  

“…the next film will have prime lenses… an Alexa….a….”  Shhhh!!!!

I’ve shot a lot of reality t.v. handheld on that lens in white-walled North Hollywood condos, and I know where we will end up if we don’t find a cinematic solution for Murder Made Easy.

I tell myself this camera and lens is a starting point, not an ending point.  

Test Day

I bring my handheld setup to our first prep day and can feel Dave shudder at the thought of handheld. “Oh, that rig? It is just part of my set bag basics. Let’s test all of the resources and ideas we have.”

Begin operation: “What about this stabilizer… that one?”

Here is where the Ronin failed: The set speed of the panning gimbals feels mechanical and non-responsive to the actors’ natural movement in the space; frequently enough, the Ronin gears lock up or “spin out” deep into a long take; carrying the Ronin around for long takes gets heavy; without wireless focus and a focus puller, moving through the space with shallow, dynamic depth of field is impossible.

Dave has a homemade rig that is sort of a counter-balanced, half assembled tripod he wants to test. We are testing everything so let’s test this…  we tested it. ☺

A rope-pulley system?

A pass the hot-potato camera approach?

A pseudo mobile slider?

We tested it.  

Facing the fear – handheld

I’ve shot thousands of hours of handheld. For small-bodied cameras, I use the ergocine system. The rig rests on my shoulder like an Arri Alexa or Aaton XTR. I can pull my own focus and with the canon lens stabilizer ‘on’ we might sneak into the realm of steadi moving cinematic camera in focus! It’s the one “stabilizer” we haven’t yet tested.

Dave shallow focus in the foreground sitting at the dinner table, I pivot around him and into the kitchen to find Murder Made Easy’s screenwriter, Tim Davis. Pulling to him as I approach, I rest him frame left, composing Dave still sitting, now in the background. It is our first look at handheld – the thing Dave fears most!  

We watch playback. It is the first stabilized setup to meet most of our needs – selective focus, a naturalistic motion and a mostly stable frame. Dave’s reaction tells me one more thing – it is the first time during all the tests he feels like he’s immersed in a movie. He’s connecting to that intangible way movies have about them, much due to selective, dynamic focus and composed framing.

This setup, however, has three big limitations: Murder Made Easy being a dinner party murder mystery, the camera must move around sitting people a lot. Shoulder handheld is not at the right eye line for a lot of scenes and I can’t “squat and walk” smoothly around a table. Second, to frame up this ensemble cast, the 16×9 aspect ratio shows too much of the set that I can’t control and is not story – the ceiling and the floor.  I am also not a big fan of the 4.0/5.6 f-stop of the stock lens because it puts those white walls in focus with the actors.  But, we are making ground in terms of turning our stock camera loaner into a cinematic tool through our handheld tests and selective focus.  

What is so critical to point out at this phase in my first collaboration with Dave is the amount of trust we are building through an open, collaborative pre-production. Through testing gear and shooting styles, we are putting our focus on judging results – getting theories and opinions out of our heads, into a testing ground and on screen. With each test, we are creating a shared vocabulary, a shared taste and a shared experience. These are the building blocks to lasting, fruitful collaborations.  

I know the camera system is not fully discovered yet, but I’ve made big in-roads with Dave in exploring all that smooth handheld can bring to his film at this budget and time level. I let the final unknowns go for now.

Sherri has the ergocine handheld system on her shoulder. The ‘director’s monitor’ is the t.v. logic 5.6 on the back end of the ergocine. The ergo and Sherri’s Alphatron EVS are powered by one Anton Bauer battery which also serves as a counterweight to the canon 5D with anamorphic lens system up front. On frame right, you can see one Leko bouncing into the ceiling. Its blades are set to cut light from bouncing too deeply into the dining room and onto white kitchen walls. Off frame left, there is a Leko bouncing side-light off the right ceiling lip to add dimension to the lighting ratio. The house lights are dimmed to a low level to taste. With the camera system comfortably balanced on Sherri’s shoulder, it is convenient to let it rest there while working out some blocking issues with actors Christopher Soren Kelly and Emilia Richeson. Nicholas Schoonover adjusts a mic and Crystal Nardico waits for ‘last looks.’

Lighting

As I stand in the middle of the white box condo knowing I will see everything and cannot paint anything, I remember my last film, The Universe is Chewing, co-DP’ing with the wonderful Brett Juskalian. We bonded over our love for Leko lighting, bouncing those lights everywhere. And such love was still on my mind.

By bouncing Lekos on the ceiling and on walls ‘off camera,’ I can extend the fall-off ratio of the light source, create a lighting ratio, and blend the natural location with a naturalistic, soft bounce source feel. For the living room hero couch area, I rent a pancake-thick led beauty disc that I can use in scene practically or off camera. (I also rented (2) 1×1 LiteMats, although I ultimately used them very little because they spill light everywhere and do not blend naturally with the limited grip and expendable supply I have on this shoot.)

Establishing this simple, yet elegant lighting approach shifts the attention where it should be – on the actors’ performances.

Here, again, is where the right tool covers my crew & budget deficiencies: The Lekos allow me to “grip” with the blades and shape the light by sourcing it to particular shapes  and sizes on ‘out of frame’ surfaces. Although I cannot rig lighting, I can throw the Leko light across deep spaces into nooks where typically I’d request to hang a grip point.    

Being able to find a way to bring in a cinematic, thoughtful lighting approach amid the constraints of the location buys two things: like the camera testing, it’s building confidence and trust with my director in that we are similarly focused in overcoming without giving in.

We will use this newly found trust as our currency for all of our transactions throughout our filmmaking experience.

The ‘big ticket’

It becomes apparent that, in committing to handheld, the must-have piece of gear on this feature is the Butt-Dolly.  There is not a substitute piece of gear that works as well in this situation.

Creeper Butt-Dolly via FilmTools

Designed by Key Grip Carlos Boiles, the Butt-Dolly has rolled across the top prime-time sets and many indie feature sets. It is the handheld operator’s best friend for scenes at hip level and at tables.

To rent the Butt-Dolly for the duration of our shoot costs almost half of my entire budget! Once we see it in action, though, there is no doubt that with the Butt-Dolly, a stabilized lens, and me handheld-operating and focusing, that we are getting really close to a full-on ‘look’ for Murder Made Easy. I can backtrack-walk a character in and sit them down at the table while sitting on the Butt-Dolly, “track” around the table during their conversation, stand them up, take them to the couch and sit back down – I can push in or pull back for the final button of the scene. This piece of gear on this micro budget indie shoestring film delivers big.

The Butt-Dolly delivers big on “Murder Made Easy”

The final pin

I know I am still bugging about the look. It is not yet complete. To fix the 16×9 field of view, I can frame and crop to 2.40. I know that. But those walls are still in focus. I can rent a 24-70 2.8 lens perhaps, but it isn’t stabilized. I can rent one stabilized prime lens and shoot the film on one prime. Well, if I am going to rent one prime… I quote out renting one Hawk Anamorphic Lens and the cost is prohibitive.

On Vimeo, I keep coming across the Iscorama 36 1.5x Anamorphic Lens while researching color tones for Murder Made Easy.

Iscorama 36 1.5x Anamorphic Lens – image © EOSHD.com

Isocrama Lens © Ben Coughlan – Flickr

The images it produces have a muted, textured look similar to the style I am pitching to Dave. If I dared to quote a single Hawk Anamorphic, I can dare to test the feasibility of shooting an entire feature film using a poor-man’s anamorphic process, right?

From `burg to `burg – Iscorama 36 lens test from DuckDuck Collective on Vimeo.

Iscorama 36 test from matt9b on Vimeo.

This Isco-36 anamorphic will give me a 32mm horizontal field of view (remember I’m using a full frame sensor though) with a 48mm depth of field – pushing my walls out of focus, allowing for ensemble cast framing and graphic framing choices using foreground, middleground and background. Shooting Dave’s feature on a single with this setup is a big pitch. Remember all of that trust and good will we’ve established throughout our prep? Time to dive into another unknown and shoot some tests.

With the possibility of anamorphic framing, I know we have discovered fully our film. Dave is weary and for good cause. The image is no longer stabilized, so we have to overcome that hurdle – again. Having to cover close-ups to wide shots without a zoom lens during these long takes, relying instead on actors and camera to move in and out of frame sizes is complicated, possibly limiting. I know this ‘limitation’ will give our DSLR, condo-location film the visual foundation it needs to bind all of the indie uncontrollables together.  

Remember how dreaded handheld was to Dave in the beginning? Now I’ve got his movie on a handheld camera with a single 1.5x discontinued anamorphic prime lens screwed onto a Russian 58mm still photo ‘taking’ lens with no stabilizer, scooting around the condo on a Butt-Dolly! Terrifying. Even for me, it’s terrifying… and thrilling :)

We test some more.

Facing more unknowns

I put the test image thru Adobe Warp Stabilizer at 2%. I apply the color correction I am pitching for a final feel and present it to Dave. Dave, I must say here, comes from an editing background. He knows the limits of “fix it in post.” To pitch a post fix (stabilization) as part of the production seems crazy. It is. But it is working. The tests look and feel like a movie – our movie, it is just unnerving how far away it is from the 5D stock lens on Ronin Dave had originally imagined.

The actors arrive tomorrow for a final on-location blocking rehearsal. We will test the camera set-up with them, run it through post again, and make our final decision after.  

Shoot Day 1 arrives

I am handheld with the ergocine supporting the 5D, Helios 58mm taking lens, and Isco 36, pulling my own focus, sliding-gliding-Butt-Dollying in socks through 12 minute takes with seven actors in the frame. It is a blast. Dave, having forgone wireless video because of budget, is often behind me glancing at my TVLogic 5.6 onboard monitor, often key gripping me around objects, up the stairs, onto the Butt-Dolly, and then ducking out of frame behind the couch trusting the images we are all creating – him, me, the actors, sound-booming mixer – even when he cannot see them in real time. It is a dance – a dance of performance, a dance of craft, a dance of technical achievement, and a dance of trust. It is a dance capturing the creative vision bravely imagined.

It is clear:  Murder Made Easy is a film unique unto itself in its visual style, directing style, and performance pitch.  

The final big win

The trust and respect built on the success of the shooting of Murder Made Easy leads to the final cinematography puzzle piece: the colormix. I call it colormix, because in this instance we are not ‘correcting’ the images or going crazy with looks – all of that we did in camera. This colormix, like sound mixing, is the fine-tuning of all that was accomplished on set. The colormix was not originally budgeted, and is not part of this article’s budget coverage. But, after such a successful production and collaboration, Dave trusted, again, his cinematographer’s assertion of its importance. We completed colormix with the phenomenal Peter Swartz of Color Space Finishing.

The real case study

With indie filmmaking – all filmmaking – being rich on trust, mutual admiration, and bold vision beats being rich on money and time. And, honestly, how often have you heard or shouted celebratorily,

‘We have so much money and time on this shoot!’

Not I, yet!  

Attacking the time and money challenge head-on is how creative craft develops.

Murder Made Easy TRAILER from David Palamaro on Vimeo.

Here is the final camera and lighting budget for Murder Made Easy:

Murder Made Easy completed production mid 2016. It premiered and won at The 2016 inaugural Women in Horror Film Festival.  

About Sherri Kauk 

Sherri Kauk has a master of fine arts from the American Film Institute.  She has lensed 5 feature films and worked in over 30 countries.

Her work airs on Netflix, CBS, A&E, Lifetime; has screened at SXSW, Frameline, Guadalajara, Tel Aviv International Film Festivals; and shortlisted at Cannes, Sundance and Berlinale.  

Articles about her work appear in the Huffington Post, LA Times, the BBC and Variety.

Sherri Kauk is an alumni of HV Team and has worked as a camera assistant for Shane Hurlbut, ASC.

Get started to access your FREE LESSON

The post Micro Budget Filmmaking – How to Get Creative appeared first on Filmmakers Academy.

Pre-Production

But when translating to the screen, the director, Brian Groh, couldn’t simply rely on the pacing of the character’s ominous movement toward the final reveal. Without the external drama of human interaction to carry the narrative onscreen, the visuals had to create stakes for the audience. As Groh put it, “We’re asking the audience to watch a woman clean her house for six minutes. How do we make that interesting?”

To begin answering that question, I asked Groh to make a mood board. This was my first collaboration with him, so I wanted to understand his visual language before we began production. The boards were refreshingly clear in conveying the emotional atmosphere of each shot, but the technicalities – color pallets, lighting, and overall shot composition – weren’t part of his vernacular. That’s where I came in. We used the mood board as a launching point for a dialogue about how to accomplish what Groh had envisioned.

Budget-minded filmmaking forces you to solve your problems within limitations. Without a set decorator, Groh had initially planned to shoot the scenes with whatever was available at the location and some borrowed furniture and props from friends. However, given the importance of the visuals to engage the audience in the story, we needed creative control over every aspect of the film’s aesthetic. I encouraged Groh to bring on Jamie Thalman, a set decorator with whom I’ve collaborated closely on many projects. Thalman’s contributions to the film were crucial; literally, every shot in the film benefited from his work.

Production

Groh and Thalman got hold of a number of items that play prominently onscreen and go a long way toward informing the audience. Two pieces that had especially significant effects were the orange vacuum cleaner and the lime green tea kettle, both of which were shopped to support the look of “future vintage.” With the addition of items like these, I was feeling much more confident in my goal to achieve a visually-captivating film that would engage the audience in the inward narrative of its sole character.

Once we got into lighting the scenes, all of the prep and photo studies began to pay off. The painstaking discussions about the aesthetic made for very little deliberation between director and DP on the day of the shoot. I already had a shorthand with Thalman, so it was easy to work with him to achieve a frame that satisfied both me and Groh, who could then focus on capturing the narrative and the actor’s performance without having to spend time and energy worrying about what was showing up on the monitor.

Post-Production

The next time I saw the film was after picture lock. I came to do frame adjustments and work with the colorist. Groh was eager to keep me involved in every aspect of the film’s visuals, including the outputs. From the earliest stages of the process to the final strokes of post, I felt a strong sense of purpose in my DP role. It’s a good feeling when each member of the crew can feel the necessity of his or her role in the completion of the work. This isn’t always the case for a project, and we achieved it through constant communication. That’s what’s most rewarding about filmmaking for me: when each indispensable piece comes together to make the whole.

Total Budget: $3,000 ($2,000 Production / $1,000 Post-Production)

– Many thanks to the cast and crew who donated their time for this project.

Camera Equipment:

• 5DMKII
• Leica R glass
• Dana Dolly
• Sachtler 0450 FSB-6T Head w/ Sticks

G&E Equipment:

• 1 x 1200 Se Ltm Par w/ Electronic Ballast
• 2 x 4ft4 Kino
• 2 x 650 Arri Fresnel
• 1 x 300 Arri Fresnel
• 1 x 2ft Single Kino
• 2 x Etc Source 4 750 Fixture
• 2 x 26 Degree Source 4 Lens
• 1 x Source 4 Iris
• 1 x Source 4 Pattern Holder
• 8 x 25′ Edison Stingers
• 3 x 50′ Edison Stingers
• 6 x Cube Taps
• 4 x 1k Hand Dimmer
• 8 x 40″ C-stands
• 2 x 24″ C-stands
• 1 x Baby Mini Menace Arm
• 2 x Beaver Board (Baby Pin On Pancake)
• 1 x Duck Bill Clamp
• 2 x 6″ C-clamp
• 2 x 12″ C-clamp
• 3 x Cardellini – End Jaw
• 1 x 8ft Speedrail
• 1 x Menace Arm Kit
• 10 x 20lb Sandbags
• 2 x Apple Box Family
• 3 x #1 Grip Clips
• 6 x #2 Grip Clips
• 6 x #3 Grip Clips
• 1 x 48×48 Beadboard Bounce w/ Silver
• 1 x 18×24 Kit (1) Sgl (1) Dbl (1) Slk (2) Flg
• 1 x 18×24 Flag Box – Wood
• 2 x 42×42 Solid Floppy
• 2 x 48×48 Empty Frame
• Opal & 250

Schedule 1-on-1 Video Call with Shane Hurlbut, ASC

Looking for mentorship in the film industry? Schedule a 1-on-1 meeting with Shane Hurlbut, ASC today! This is where you can get expert advice from an industry professional on your career or a particular project. 

About Filmmakers Academy Cinematographer Mentor Shane Hurlbut, ASC

Director of photography Shane Hurlbut, ASC works at the forefront of cinema. He’s a storyteller, innovator, and discerning collaborator, who brings more than three decades of experience to his art. He is a member of the American Society of Cinematographers, the International Cinematographers Guild/Local 600, and The Academy of Motion Picture Arts and Sciences.

Hurlbut frequently joins forces with great directors: McG’s Netflix Rim of the World and The Babysitter, plus Warner Bros. We Are Marshall and Terminator: Salvation; Scott Waugh’s Need for Speed and Act of Valor; and Gabriele Muccino’s There Is No Place Like Home and Fathers and Daughters. His additional film credits include Semi-Pro; The Greatest Game Ever Played; Into the Blue; Mr 3000; Drumline; 11:14, which earned Hurlbut a DVDX nomination; and The Skulls. Notably, his television credits include the first season of AMC’s Into the Badlands.

Filmmakers Academy Premium Camera Courses

• Camera Blocking & Composition
• Film and Camera Theory
• Camera Exposure-False Color

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