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Are you using these to replace household fixtures or cinema fixtures? How well they look depends, in part, on the CRI of the lamps, and the ad does not list this information. If you're replacing household fixtures, and they have magnetic ballasts, then these may help reduce flicker. Magnetic...

If you're also thinking about interior lighting, then knowing your budget would help. I shot my first independent short with the work light stuff above, I think now I'd be pretty frustrated by them (though that short has probably done better in the festival circuit than everything I shot since...

Yeah, if you're going to be mostly outdoors, bounce cards are your best option, especially if you're low budget. I would get some in different sizes, including some big ones (4x4). I'd also recommend those 5 in 1 reflectors, you can not only bounce with them, but the diffuser and solid come in...

Big budget commercials take a tremendous amount of time, mostly because they only have 30 seconds, so as the OP mentions, every frame has to count (also they have the money). I used to AC on some major network commercials and on average they would be 2-3 eight or ten hour days. I'm sure there...

Yes to your first question and no to your second. Are you really just talking about changing the depth-of-field of a shot and nothing else? There are three things that affect depth-of-field: focal length, distance to subject (or focus point) and aperture. Now in practice, aperture is really...

Of course, a lot of this depends on which sensor size you're using and what type of thing you're shooting. Let's assume you're talking about narrative work, with something like an S35 sensor. Personally, I have a 20mm, 35mm, 50mm, and 85mm plus a 28-85 straight f2.8 zoom. I've shot a feature...

Yes, I use it all the time. Just vice it in the grip head and your good to go. Or you could get fancier and use a cardellini or mater clamps. And they make foam core that's black on one side and white on the other, so you got a flag and a bounce. I try and have some of both because there are...

You can always get the light closer to your subjects (though that might mess with the lighting on the faces). If the light is closer to the subject, the drop-off on the background will be greater, hence more contrast. Flag the light off walls as much as you can, like the cinefoil tip, or you...

I actually think your images are very nice. The only thing that struck me was that they were mostly hand-held. I think using a tripod and/or slider would make a big difference for this type of "landscape/nature" imagery.

I thinking looks real enough, though maybe there's a little too much ablation,or glow around the flame. I'm not sure you'd see that if it were daylight. Otherwise I think it's convincing.

Let us know if you mean just a really fast zoom, or a zoom where the subject stays the same size but the background warps - that would be a dolly zoom. A fast dolly zoom is difficult to do and generally requires two camera assistants (I've done it with one, but it wasn't super fast and it was...

I see. Thanks!

I don't know how to do that quote thing, but your last sentence, Sweetie, was well said. I'm mostly posting this hoping someone will tell me how to do the quote thing.

I suspect why your exposure is changing is because you have a variable aperture lens. It's probably the one that came with your camera and it's speed is listed as something like f3.5-5.6. That means that as you zoom out, the efficiency of how the lens passes light through changes. This is...

Because you're telling a story in a visual medium. The choice of shot is the same as the choice of words for writers. Now, if you say that because you are only focused on writing and no other element in film-making, then, yeah, I suppose it's okay to have that attitude, though I still think...

Hoytema said he used the long take to suck the audience into action. I haven't seen the movie yet, but long takes can do that effectively. Strangely, I also think I remember reading Mendes saying he also felt it saved him time. Personally I'm with Directorrik in that using long takes to save...

I like the first one also. I'm not sure I like that her head is cut by the top of the frame, but that's just me.

I don't know how to do the quote thing, but in response to APE's response about what defines the second, I sort of get it (I still remember having to tether the camera to the Nagra to compensate for this) but in the digital age, I thought this wasn't a issue. I record with my BMPCC and Zoom...

Sorry, really didn't think so, but it would explain your issues.

I don't suppose there's any chance your NLE conformed to 24 fps?