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5 Things Cinematographers Don’t Talk About

 discusses a few things that go unspoken among cinematographers (and maybe why they shouldn’t be).

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1. When to Say No

Possibly one of the hardest parts of this career is dealing with any level of success. I’m very grateful for the filmmakers I’ve had the pleasure of working with. They are all incredibly hard working and dedicated to their craft. They don’t let up until it’s right. That usually makes for interesting films — films audiences respond strongly to, good or bad. I owe much of my ability to continue working in this field to their perseverance. Other filmmakers see those movies, and I’m lucky enough to find myself being asked to work on new projects. It’s the dream, right? So what happens then?

When I moved to New York City back in 2009, only a few months married to my lovely wife, Laurie, we landed hard, put our heads down and got to work. We asked ourselves, “How could there be room for another d.p. and production designer in this city?” We didn’t wait to hear the answer. We just went for it.

Everything was going according to plan, except one little detail: Jackie. Our baby boy joined us in November of 2010, and he immediately had his own ideas about what this life was all about. All too suddenly those days tucked away in coffee shops with warm mugs and scripts became about negotiating health care, childcare, transportation, doctor visits, immunizations.

Filmmaker Magazine | Read the Full Article

BAFTA Film Craft Sessions Talk With the Best in the Industry

BAFTA invited some of the best minds in the film world to our BAFTA HQ in London to discuss their craft and work with an intimate audience.

Cinematography

Editing

Production Design

Costume Design

VFX

Sound

Music

Hair and Make up

Bafta

How to Make a Squirrel-Baffle Spy Microphone

If you want to listen to faint sounds far away, you’re going to need a bigger ear. Parabolic microphones gather and focus sound waves the way a satellite dish focuses radio waves, making it possible to listen to the quietest of sounds hundreds of feet away.

Now while this is an interesting build it won’t replace having a good microphone within close proximity to your subject. As always – we must turn to science. (Wikipedia)

Parabolic microphones are generally not used for high fidelity recording applications because dishes small enough to be portable have poor low frequency (bass) response. This is because, from the Rayleigh criterion, parabolic dishes can only focus waves with a wavelength much smaller than the diameter of their aperture. The wavelength of sound waves at the low end of human hearing (20 Hz) is about 17 metres (56 feet); focusing them would require a dish much larger than this. A typical parabolic microphone dish with a diameter of one metre would have little directivity for sound waves longer than 30 cm, corresponding to frequencies below 1 kHz.

Still if you just want to hear something far away, this might be a fun build.

Parabolic Microphone

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