They are "How do I get to be a DP/ Director/ Editor?" and "What should my cinematography reel be like so that I can become rich and famous/ finally get some work?". The smarter amongst those who ask spot that the two questions are linked like siamese twins, and combine them into one longer question...
As the droll comedian Steven Wright says, “You can’t have it all…where would you put it?” Yet, we Cinematographers generally do want it all, higher resolutions, higher frame rates, higher dynamic range and more color space. But the question of storage, (or where to put it?) is only one of the myriad of considerations.
it was commonly accepted in parts of the business and marketing communities that it was better to have video material out there in bulk just to be seen, today's viewers have become sufficiently sophisticated that low budget mass video now has a significant negative effect on a brand.
The Colorist Society International is the body that represents the interest of feature film colorists around the world (I'm an elected member) and is our equivalent of the DGA, ASC or ACE... we just have a much sillier acronym in CSI! Anyway, the powers that be recently released a one page description of what it is that we do and how and when we do it that might shed a little light on the role for those that are interested or should know already.
From Disney to Pixar to Dreamworks, these animation studios have set the standard for what “animation” is today. This world of animation they’ve created is a coloring book, where the trees speak and the restrictions of the real world do not apply.
Over the years I’ve periodically dipped my toe into the waters of discussing the “business” of filmmaking; a topic I am, so far at least, fairly lousy at (at least from the perspective of profit).
Let’s say you want a scene shot in the park. In a live-action film, plenty of public parks are right there waiting for you, complete with trees, benches, and squirrels.