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Tony Brown

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Everything posted by Tony Brown

  1. I worked on " Indiana Jones and the Temple of Doom". That was an eye opener. I was struck by the fact that the camera was NEVER static. Mostly it was subliminal movement, but it was dramatic when it needed to be. It raised the question why NOT move the camera. It makes a static shot a very deliberate statement. Its not a bad way to think. Film image is two dimensional window, but the best way to open the 3rd dimension is to move the portal we look through. Even ECU's can benefit from a subtle track in or a lateral slide to move a soft background image. If it looks wrong, its probably just because its too fast.
  2. Stand by for a zillion different answers...... B) For a 'tabletop' type shot I'd probably start with an 2.5k Par with half cto or straw bounced into a 4x4 rosco soft gold. Cheaper option would be a tungsten unit, but I do find something very natural and forgiving about gold bounce light rather that direct cto or tungsten units. A shot like that you could probably do 5 versions in as many minutes...play with it.
  3. A subject dear to my heart. The problem is that even really old lenses rarely contain that sort of character you seek - and believe me there is an army of us out there looking for that 'good' bad lens, something quirky that will produce a unique or at worst 'unusual' look. I've tried old PV lenses, Kowas. B&L, Pinhole, etc...at the end of the day they are all developed to reduce the 'characteristics' you seek. My advise would be go back to basics. Take a look at Julia Margaret Cameron for some beautiful images. You'll see what I mean. http://www.getty.edu/art/exhibitions/cameron/highlights.html Enjoy - truly brilliant woman
  4. It looked superb and was one the funniest films I've seen in a long tme (it was a comedy ....wasn't it? :D ) Seriously I thought it was awful ....... but hats off to the technical crew, it was an excellent piece of work from their point of view.
  5. Which is why us smart english boys live in the country - you can keep London / manchester. My brother works with an agent and swears by her. She DOES get him work and lots of it, they also invoice jobs 'by the book' and so he says they actually pay for themselves. She also arranges all travel and connections for him - she's like a personal secretary - really good service. I've been approached by two but work every week anyway so why do I need an agent? If I get the urge to move back into features then it may be useful, but I doubt that will happen, I prefer commercials. I think its a chicken and egg situation as David said, if they want you, chances are you dont want them........... I'm shooting in LA at the moment - (not exactly warm here either by the way Phil), froze my butt off in a helicopter for 5 hours yesterday.
  6. I've just found out that the insurance provided by the production company i'm working with is £100,000 if I'm killed whilst filming from the chopper. Its really shocked me - when I think of the near misses I've had, even flying with the best pilots, really really shocked that they value a life so cheaply. Can anyone give me details of cover they've received please? Thanks.
  7. OK, I got all the answers I can deal with from the CML - didn't realise it could be so complicated!
  8. Does anyone have the maths required for making a reasonable (!) pinhole camera...I assume there are some rules of thumb? Tips/tricks? Actually that wouldn't be a bad section for the forum would it... tips % tricks? Or are we too protective of our little secrets? B) Thank you|!
  9. Did they at least shoot it in the right country? Or did they do that in Ireland too I agree Phil - it's pretty dire at the moment. Have a look at "La Reine Margot" on DVD, its not bad, still better than anything working title makes....and remakes....and remakes. How did your shoot in the cafe go by the way?
  10. "Moody low key close up" could mean almost anything. I'll go 2 stops down comfortably on some shots, others I may even overexpose part of the face and still achieve "moody low key" by ensuring that 90% of the skin tone is filled 3 stops under key. It depends on background, size of close up, and as David said, skin colour/sheen.
  11. Red enhancer may help (some will kill me for that I know but I've had some success with them) Also keep your lighting fairly bold & directional I'd start with 3/4 front light. Dont forget the most important colour on the screen - black. Without a black reference I find even bright colour is diminished.
  12. I like these units with deep egg crates - soft but localised - deals with the flagging issues too.
  13. But it would still be black when transferred....
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