cinema5D has managed to become one of the most successful video camera gear reviews & news websites in the world over the past five years, and we are only getting started. We need more cinema5D writers. Our main focus on original, self-generated content – generated by the entire team which consists only of professional shooters who are working in the industry day in and day out. Unbiased and with different styles, the audience sees different takes and perspectives on new gear and shooting techniques. People appreciate personal opinions from professionals, even if they are different – which makes our content even more relevant.   What matters to become a cinema5D writer: proficiency in filmmaking – you know your stuff in one or more areas of filmmaking (producing, editing, directing, cinematography, post-production …) you follow industry news closely you have fluent writing skills in English (native speakers preferred) you can write well and you are actually enjoying it you consider yourself a filmmaker – maybe you are a creative young person starting out, or a professional in the industry who has worked for many years already, aiming to get more involved in the blogger scene – becoming a writer for cinema5D sounds like the right thing to do for you you have time to write a minimum of 8 articles per month (This is very important for us! Lengths can vary. Please do not apply if you cannot commit to that.) you know our and our competitors sites and follow them regularly you actively come up with your own ideas you have the time to write regularly – people with full-time jobs should check if they can find the time to write regularly What to expect: payment is based on the amount of articles written and on success and reach (not a full time employment, it’s supplemental income but has the potential to become a considerable sum that you can profit from long-term) introduction to our wide network of fellow filmmakers and bloggers a relaxed and exciting global team of professionals who work together in a decentralized manner from around the globe you’re getting your name out there to thousands of eyeballs, and we can link to your personal site from your name in the news posts possibility of taking you to major trade shows like NAB in Las Vegas, IBC in Amsterdam, … if we are really happy with your work and if you work well under time pressure (we always take some selected team members to shows around the world). To apply: tell us who you are, what you do, what you enjoy writing about most – and why you think this is something for you write one representative news post about a current subject of your own choosing that you would consider a “perfect fit” for our site (and which we haven’t written about yet). It can be either a classic news post of something current (example here), a review (like here) or a longer educational post (like here). Choosing the right subject and headline is almost as important as the proper content to go with it :-) email hiring[at]cinema5D.com to apply If you are only interested in writing guest posts or irregular posts, please DO NOT get in touch at this point in time as we need to focus on finding a regular writer first – irregular posts are however unpaid, but you will have your name and link to your website on them. We hope you see the opportunities and chances of growth this presents if you feel like we’re looking FOR YOU. Get in touch via hiring[at]cinema5D.com. And don’t hesitate to ask any questions too!

In this final part of our agent discussion suite, we talk about how far the relationship between agent and DP can extend. If you’ve been following our car ride discussion with Kristen Tolle-Billings from Worldwide Production Agency and Kasper Notlev from ArtOfficial over the past few weeks, you will no doubt have come to understand by now that the relationship between the agent and the DP is much more than mere business transaction. The agent is a person who can really help you navigate the murky waters of your future career, as well as facilitate your growth as a professional by helping you network to make both professional and passion projects come to fruition. Kasper Notlev from ArtOfficial This kind of relationship can sometimes mean that the agent goes above and beyond what you would normally expect of them. Kasper and Kristen tell us a couple of stories involving paying a client’s flight, helping them make rent, and Russian embassy Visa fixes. Kristen Tolle-Billings from Worldwide Production Agency It was a real pleasure to have both Kasper and Kristen on board this session of cinema5D ON THE GO at Camera Image Festival 2017. It was truly enlightening to discuss this aspect of a filmmaking career. Sometimes the right career move can be a lot more important than your next camera purchase decision! Please visit our sponsors’ websites to keep new episodes of ON THE GO coming! TILTA Blackmagic Design Manfrotto Olympus Watch previous episodes of ON THE GO (& On the Couch) by clicking here. Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes!

In this part of our discussion with cinematography agents, we discuss two key elements to finding an agent: your show reel, and the right timing. You know that video compilation you edit every year with your best recent shots? While you may refer to it as your “showreel”, agents such as Kristen Tolle-Billings from Worldwide Production Agency and Kasper Notlev from ArtOfficial would probably just call it a montage… and, believe it or not, it’s probably not the first things they want to see. Kristen Tolle-Billings from Worldwide Production Agency While a montage would have been useful in the past, a certain sense of mistrust has built up around the use of such compilations, as it is very easy to cherry pick your best shots without showing a true representation of what you can actually deliver as a DP. For this reason, agents prefer to see your “actual” showreel – that is to say, your body of work in its entirety. Kasper Notlev from ArtOfficial But let’s say you have a decent number of projects under your belt. They look awesome. But you want more, and are thinking about contacting an agent. Something that could happen is that you may be turned away… But fear not. Commencing a conversation with an agent who doesn’t believe you are quite there yet doesn’t necessarily mean you will never work together – quite the contrary, it may prove easier in the long run develop a  working relationship from having already known each other for a couple of years. What Kasper recommends: don’t stress about finding an agent too soon. Instead, focus that energy in realising creative projects and developing your own talent. After that, the agent thing will work itself out. Finally, we touch on some of the financial aspects of working with an agent, such as what is the agent’s commission for finding you work. Stay tuned for the final part of our conversation with Kristen and Kasper, where we discuss some of the projects that they have played a part in realising. Please visit our sponsors’ websites to keep new episodes of ON THE GO coming! TILTA Blackmagic Design Manfrotto Olympus Watch previous episodes of ON THE GO (& On the Couch) by clicking here. Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes!

In this second part of our chat with two big-name agents, we discuss the differences in funding film projects in the US and in Europe. One of the biggest differences between Europe and the US when it comes to financing a film project is the availability of public funding bodies in Europe. However, access to these funds and a variety of tax breaks and rebates often means using a certain amount of resources from individual countries, such as locations or talent. These financial benefits can be so significant to the overall budget of a production, that they can influence the job market in the industry. Kristen Tolle-Billings from Worldwide Production Agency and Kasper Notlev from ArtOfficial share with us how these options in the funding game can influence productions. Kirsten Tolle-Billings from Worldwide Production Agency That said, Kasper is of the opinion that the European market is changing, with an ever-increasing influence from the American model of private funding. Of course, the potential success of the project will play a big part in drawing the interest of backers. This is when the cast, crew and other names associated with the project will prove essential. Finally, the potential marketing budget is also a key element in gauging your film’s potential success. While viral marketing is appropriate for some kinds of projects, others may benefit from a different strategy… Kasper Notlev from ArtOfficial If you are interested in the funding aspect of film, make sure to check out ON THE GO Episode 64, where we talk about funding, equity points, and all that fun stuff! Also, if you’re wondering if you should be the one to market your own film, check out our Perspectives on Filmmaking Episode 4 – our roundtable discussion with respected cinematographers where we tackle this very topic. Please visit our sponsors’ websites to keep new episodes of ON THE GO coming! TILTA Blackmagic Design Manfrotto Olympus Watch previous episodes of ON THE GO (& On the Couch) by clicking here. Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes!

In this episode of ON THE GO, we talk to two big cinematographer agents about just what exactly it is they can do for you. Although our site caters for many DIY and entry-level filmmakers, if you are successful and talented at your craft, you no doubt have been taking on larger and larger gigs, to the point where you may be wondering what could be the next logical step in your career. Eventually, you may even wonder if you need to look for an agent. During Camerimage Festival 2017 we had the chance to talk to two agents representing a couple of big agencies in Europe and the US. Kristen Tolle-Billings works with Worldwide Production Agency and is based in Los Angeles, although the company has offices on both sides of the Atlantic. Kasper Notlev is part of ArtOfficial, a talent agency based in Copenhagen but operating worldwide. During our car ride in the cold Polish winter we asked them: what exactly can they do for DPs wanting to further their career? Kristen Tolle-Billings from Worldwide Production Agency At its most basic, their work involves finding you jobs – that is clear. However, this “middle-man” position goes far beyond negotiating deals to getting better rates and conditions and pitching you out to whatever projects are taking place. Their jobs require in-depth study of potential scripts, production agency treatments and directors’ visions in order to be able to match up queries with the right DP in their roster. Kasper Notlev from ArtOfficial On the flip side, it also means cultivating strong personal relationships with the talent they are in charge of. As Kasper says, if – for example – he knows one of the DPs he’s in charge of is going through some particularly difficult moments in their personal life, he knows they may not particularly be the right choice for a long shoot overseas. The agent can also serve a key role in helping expand your portfolio – which, Kristen says, is essential in an industry where any one particular style (music videos, commercials, etc) may see an unexpected drop in demand, risking to leave you with a reduced income. An agent can also help you chase your own creative endeavours. Whether what inspires you is a brand-new piece of kit, a new technique you want to try, or the work of a particular director, an agent can help make the necessary connections to get you shooting something that you are really passionate about and that, in the long run, will hopefully help you both find larger projects to take on together. Please visit our sponsors’ websites to keep new episodes of ON THE GO coming! TILTA Blackmagic Design Manfrotto Olympus Watch previous episodes of ON THE GO (& On the Couch) by clicking here. Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes!

In this final part of our char with Phil Galler from Lux Machina, we talk about the strange phenomenon that is the VFX “uncanny valley”. We already introduced you to Phil and his work with his company Lux Machina – who, among other things, specialises in creating in-camera VFX and lighting with the use of projections and LED panels. However, when you can create any environment and update it in real time at the touch of a button to fulfil the director’s vision, and the virtual environment can seamless recreate and integrate with the real world, this raises some serious questions about how far we should go. This is especially true when our virtual creations include non-human actors, or recreate those performers who are no longer with us. Could virtual actors one day completely replace humans? Often it can be that human recreations on the screen are almost too real, and at the same time not real enough. The feeling of looking at something or someone that – in a way – “shouldn’t be there” creates an odd sensation that viewers can often feel uncomfortable with. Perhaps it is the lack of the human spark in the eye despite the perfectly-modelled flesh, or maybe it’s a sensation that goes deeper into our lizard brain… in any case, this is what we call the “uncanny valley” effect. Peter Cushing recreated as Grand Moff Tarkin in Star Wars: Rogue One For Phil, the question of whether or not we should be exploiting this technology to recreate actors who have passed away or have aged – as famously seen in Star Wars: Rogue One –  is not down to ethics, but simply down to a storytelling point of view. If you can create a strong emotional connection with a human, why use a virtual counterpart? We also talk to Phil about what he thinks is the future of the VFX industry. His predictions founder of a leading company in the VFX industry are certainly worth paying close attention to! Note: Throughout these conversation with Phil, he repeatedly refers to a sci-fi movie project that Lux Machina has been working on in London. Under the press section of the company website, they recently announced they had been working on Solo, the next in the series of Star Wars Story movies! Please visit our sponsors’ websites to keep new episodes of ON THE GO coming! TILTA Blackmagic Design Manfrotto Panasonic Watch previous episodes of ON THE GO (& On the Couch) by clicking here. Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes!

In this episode of cinema5D On The Go, Phil Galler from Lux Machina tells us about what he thinks is the future of LED lighting. We are all familiar with the advantages of LED lighting: power efficiency, portability and ease of use are but a few of the usual characteristics that manufacturers use to advertise their LED fixtures. This kind of technology is quickly becoming the norm in the filmmaking market. However, for Phil and his company Lux Machina, LEDs are tools that offer a variety of other uses. This kind of technology can be used very effectively for practical VFX, such as for replacing the need for a green screen by programming plates to interact in real time as surroundings for the actors. These LEDs, however, not only serve to paint a pretty backdrop – they can also provide additional lighting with various characteristics at the DP or gaffer’s request, without the need to spend more time hanging traditional light fixtures. Reflections and LED interactive lighting on the set of “Tomorrowland” – Source: Lux Machina From a more practical point of view, Phil can program small icons to serve as visual cues for the actors – such as to indicate when an actor should turn the wheel of a car during a car chase scene in order for his movements to match the background projected outside the car windows. This makes it possible to give actors necessary directions in a repeatable and reliable manner.    Stay tuned for the final part of our chat with Phil on the next episode of cinema5D ON THE GO, where we talk about the future of VFX and the “uncanny valley” of digitally recreating human actors. Please visit our sponsors’ websites to keep new episodes of ON THE GO coming! TILTA Blackmagic Design Manfrotto Panasonic Watch previous episodes of ON THE GO (& On the Couch) by clicking here. Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes!

In this episode of cinema5D ON THE GO we talk to Phil Galler, Co-Founder and CTO of VFX company Lux Machina. Phil’s company focuses on in-camera practical VFX, a broad range of applications which includes anything from replacing green screen, to providing organic lighting, and rigging large-scale LED surfaces. Phil’s work with Lux Machina can be seen on Star Wars Rogue One in the form of large LED wall setups, which provide lighting and reflections such as those seen on Darth Vader’s helmet. The company also worked on Ghost in the Shell, providing solutions for some of the driving sequences. Some of the regular work at Lux Machina involves coordinating the production of plates to project outside vehicles for car scenes shot in-studio. The company works closely with B unit production to ensure that the film’s unique look, dictated by the DP, stays consistent throughout the project. Achieving in-camera VFX like this can serve as a very effective way of reducing expensive post-production or reshoot costs, and can benefit both smaller-budget and multi-million dollar productions. Outside of lighting, the company also designs projection, LED and screen systems for broadcast and film events. Stay tuned for more from Phil and Lux Machina next week on cinema5D ON THE GO! Please visit our sponsors’ websites to keep new episodes of ON THE GO coming! TILTA Blackmagic Design Manfrotto Panasonic Watch previous episodes of ON THE GO (& On the Couch) by clicking here. Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes!