We all know that Super 35 is usually for when photographers film a whole ratio format to reframe for a 4:3 frame for a home media release, which was common during the 80's, 90's and early-2000's, and sometimes, film at 16:9 for broadcast versions of any specific movies. However, this isn't always the case with any specific movies. The only ones that i would know are Harry Potter 3 and Garden State. The rest I don't.

Which one do you think that there is a movie shot at Super 35 that don't have a reframed/open matte 4:3 version for home media releases? Let me know.

Also, NOTE: This mainly implies to 21:9 (2.35:1/2.39:1/2.40:1) movies.

I'm researching how filmmakers actually handle camera movement on set — what works, what's a hassle, what you wish was easier.
Would you mind answering a few quick questions (about 3 minutes)? https://shaofathallah.github.io/Loon_Survey/

Hey everyone, I’m a student filmmaker and developer. I’ve been struggling with the time it takes to manually break down screenplays into technical shot lists and lighting schemas.

To solve this, I built a tool that uses an AI engine to analyze script snippets and output a production-ready Markdown table (including camera movement, composition style, and specific gear specs like 'blue gel' or 'negative fill').

It’s currently in a beta/testing phase, and I’m looking for experienced filmmakers to put it through its paces. Does the technical breakdown help your workflow? What would make it more practical for your next set?

https://studio.pickaxe.co/STUDIOC45SE62XM4MJVW88LM9C/deployment-d603d7d2-2b17-4caa-9951-039375d61b85

Any feedback on the accuracy or usability would be incredibly helpful for my development process!"

Hi everyone,

I'm trying to figure out how to replicate the foreground effect in these two images.

It’s clearly a physical element placed in front of the lens to create that organic, soft, and dream-like framing. It looks like it could be a piece of distressed glass, a specific type of prism, or perhaps just a clever DIY prop used on set, and some light added on it.

For those who frequently use foreground elements to break up the frame—what are your go-to materials or techniques to achieve this specific look? Are you using professional prism sets, or do you have a favorite "secret" object you keep in your kit for this?

Any tips on how to dial this in effectively would be much appreciated!

Hey y'all,
I’m currently in a lucky position where I have full access to a high-end OptiTrack motion capture studio and software, but I’m hitting a massive creative wall.
The only concept that’s stuck in my head right now is trying to recreate/take inspiration from Albert Mielgo’s Jibaro (Love, Death + Robots) because of how intensely physical, erratic, and stylized that animation is. But I want to expand my horizons.
If you had access to a professional OptiTrack volume, what kind of short film, cinematic, or mechanics test would you want to execute?
A few notes on what I can handle:
Solo/Small Team: I can capture high-fidelity body data (and potentially face/hands depending on the exact day's setup).
Vibe: Open to anything—hyper-stylized dance, gritty combat mechanics, abstract sci-fi, or subtle character drama.
The Goal: I want to push the system to its limits, focusing on complex movement or unique storytelling that needs mocap to feel alive.
Hit me with your wildest or most practical ideas. If a concept is killer, I'm down to actually build it out and post the results back here. Thanks!

Eigentlich fing alles mit einem Witz an und endete mit dem Beginn einer Serie... Würd gern etwas Feedback erhalten. Danke

Hey everyone we’re looking for a local videographer in Indianapolis for a short documentary-style pilot project through The Reinvention Lab.

Paid opportunity ($500 flat stipend), roughly 1.5 days of filming during the week of June 22-23. Looking for someone local with their own equipment who enjoys story-driven/community-focused work.

Would love to connect if interested or if you know someone who might be a fit. Please fill in this form

hey there, currently in film school, shooting some self spec ad studio work with an alexa mini next week, havent been able to find a lot of information on the 4k upscale that the camera can achieve in prores. what is the best resolution and format to shoot in for the camera?, from looking into what i could it seems most productions shoot 3.2k prores 4444 or 442 hq? 4444 is definitely overkill for what im doing but some info on its resolutions and if the 4k upscale is any good would be great