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"Magic Lantern 2.3 works on: 5Dmk2 2.1.2, 50D 1.0.9, 60D 1.1.1, 500D 1.1.1, 550D 1.0.9, 600D 1.0.2" Your continued inability to find the most basic piece of information is astounding.

Get Magic Lantern. The same recommendation was made to you in another thread (by ZenSteve, I think). Spend your money on other areas of the film. After two years here and 3,500 posts, you still haven't finished a single film. Your obstacle isn't the limitations of the T2i. Your biggest obstacle...

If you can't make a visually appealing, cinematic looking film with a T3i then buying a more expensive camera is not going to help you. Spend the money you save on sound, lighting, production design and post-production and your film will be of a far higher quality than if you'd simply bought...

I'm certainly not aware of any issues between the two - truth be told, because there's no real integration between the Apple and Adobe suites there aren't really any incompatibilities to overcome. Unless you use a product like Automatic Duck, you'll need to manually export/import your XML/EDL...

People do sit closer to computer screens, sure, but computer screens also tend to be a lot smaller than televisions. It's the viewing angle that's important, not the screen size. For a 36° viewing angle, you'd need to sit 2'8" away from a 24" screen or 4'2" from a 38" screen (which was the...

More light means less gain and therefore less noise. That's by far the simplest way to have cleaner footage. Remember to open the aperture up before turning the gain. You may find you can get away with not adding any gain at all if the lens is wide open. With regards to your TV - if it looks...

Great. Now cut together a sequence going from a scene lit by the sun to one lit by sodium lamps and see if you find the transition too jarring. Whether it is or not will be pretty subjective; it's your call.

Here's a diagram I put together a while ago for a similar discussion… Full frame stills 35mm has eight perforations per frame, with the film running horizontally through the camera. Motion picture 35mm uses four perforations (or fewer) per frame, with the film running vertically through the...

An 18mm at f/8 on an APS-C sensor has a hyperfocal distance of just over 7' - you can keep everything from 3'9" to infinity in focus. Learn to use a depth of field calculator; just saying "there is only six inches of [depth of field]" at f/8 is meaningless.

Want to see your rain? Backlight, backlight, backlight. And you'll need far more water than you think for it to look realistic on camera.

Are you hiring or buying? If you want a wide-angle lens, I'm not sure how 24mm is more useful to you than 18mm. On a crop sensor, the 17-55mm f/2.8 IS would be my zoom of choice - a stop faster and arguably a more useful range for video than the 24-205 f/4 IS. If you need to go longer, either...

This is so completely wrong I don't even know where to begin. The vast majority of modern cinematic release are shot on either a S35 or S16 sized imager, both of which are far smaller than FF 35mm. I'm not going to attempt to address the rest of your post; there's informed speculation and then...

There are two variables when adjusting white balance: blue-red (on the x-axis) and green-magenta (on the y-axis). Green-magenta shift should generally be set to 0 if shooting in daylight/tungsten light. Fluorescent lights not designed for film use can require adjustment, as can HMIs (but the...

Having the glass wall glow red could look fantastic. I'm not so sure about having even more red light inside the room - but that's entirely a matter of taste, perhaps you had something like this in mind. I'm not sure of the exact room layout, so this may not work, but I'd consider using a white...

If you shoot one scene in daylight with daylight white balance and another in tungsten light with tungsten white balance there should be no discernible colour difference: that's the whole point of white balancing. As knightly said… I'm sure you read the answers to your questions, but you...

Here's a graph from Olympus that shows the wavelengths emitted by different light sources. Sunlight and tungsten light cover the whole range of visible frequencies. The different wavelengths that make up sunlight are fairly evenly distributed, with a slight blue bias. Tungsten light is...

See my previous post - you can't reflect wavelengths that aren't there. And again, gelling the lights won't work. Either add lights of your own (tungsten, fluorescent, HMI, LED… whatever you can get hold of) or make the orange tint part of the film.

We've been over this before… Either use lights of your own (a small LED panel may well be sufficient to light close-ups) or just accept that the scene is going to have an orange tint. You're trying to make a film on a tight budget with relatively little experience; there are bound to be...

Welcome to Indietalk! This seems like a very strange way to approach developing a style - the three directors you mention use these stylistic trademarks (and it's curious that you mention only visual features of their films) as a consequence of the types of films they make. If a style doesn't...