brian hendry

i swear all i use now a days are chinas, pracitcal lamps with photofloods , and clip on scoops on squeezers.

ok so i know i already posted a similar topic already. reference my post :http://www.cinematography.com/forum2004/index.php?showtopic=7614 and thank you very much mr.mullen for your response. but i need more help. ok ive written out my resume in paper form, i have my reel togther and thats set, but my paper resume has everything from Name,School,GPA and all that basic information, and then i have all my expierence listed in neat catagories like DP, 1st AC, Gaffer and so on....but the question is a three part question.. 1. i look at templates online on where to go after i have listed all my relative experience, but i dont know what to say afterwards. What do you think? Like a section listed as "special skills"? i wouldnt even know what to write under special skills, cause from what i see on most online resumes are something along with the line of someone knowing how to use microsoft word and excelle, and i do not want to write in that i know how to use them and so on. is this where i list what cameras i know? Or what? Also do i live previous employment that has nothing to do with production? And how to have my personlity come through my resume as well? 2. What should i try and cover in my cover letter if i want just an entry level paid postion on set? or anything of the sort? 3.i also have all my references, how should i lay out my references on a seperate piece of paper? do i list there expiercence? or what they do for a living and so on? well, i know its alot to ask, but any help would be GREATLY appreciated!! thanks so much, brian johnston

so yea, that actually works. worked for me! ha

harry c. box . haha. i need a name like that.

ok so i know i already posted a similar topic already. reference my post :http://www.cinematography.com/forum2004/index.php?showtopic=7614 and thank you very much mr.mullen for your response. but i need more help. ok ive written out my resume in paper form, i have my reel togther and thats set, but my paper resume has everything from Name,School,GPA and all that basic information, and then i have all my expierence listed in neat catagories like DP, 1st AC, Gaffer and so on....but the question is a three part question.. 1. i look at templates online on where to go after i have listed all my relative experience, but i dont know what to say afterwards. What do you think? Like a section listed as "special skills"? i wouldnt even know what to write under special skills, cause from what i see on most online resumes are something along with the line of someone knowing how to use microsoft word and excelle, and i do not want to write in that i know how to use them and so on. is this where i list what cameras i know? Or what? Also do i live previous employment that has nothing to do with production? And how to have my personlity come through my resume as well? 2. What should i try and cover in my cover letter if i want just an entry level paid postion on set? or anything of the sort? 3.i also have all my references, how should i lay out my references on a seperate piece of paper? do i list there expiercence? or what they do for a living and so on? well, i know its alot to ask, but any help would be GREATLY appreciated!! thanks so much, brian johnston

i honestly dont know how to approach to write the actual paper resume for a film. do i have seperate papers for actual crew expierence? how imporant are references? any help on layout? or books i can check out? or an online template? ive found more than enough online templates for regular resumes, but need one for film. thanks so much.

im shoot alot of concerts and shows and what not, and sometimes the clubs are rather small , and everyone is moving around and it gets really steamy in the space, so my lens fogs up a fair bit...i would really not like to have to wipe it off every min. or so....is there something i can do for this? something i can buy? thanks.

im shoot alot of concerts and shows and what not, and sometimes the clubs are rather small , and everyone is moving around and it gets really steamy in the space, so my lens fogs up a fair bit...i would really not like to have to wipe it off every min. or so....is there something i can do for this? something i can buy? thanks.

thanks a bunch. and as far as the visa situation..my aunt and uncle are australian. so ive got a sponser at least. so im pretty set in that dept....i hope. ha

just wondering if anyone has any info on any Sydney rental houses?...i work at a small rental house in North Carolina, and i would really love to move to Sydney. If anyone has any contacts or links for camera houses or anything of the sort, that would be great. thanks a bunch

nothing? anything at all?

im looking to either make a body mount or rent one...i would prefer to rig something up though, and the only people i know that make such a thing are the people at doggiecam. i had planned to use an Xl-2 for this shot, so its not a massivly heavy camera....so if anyone has any expierence with them, or knows of any online tutorials on how to rig something up or any rental houses in the south (im in north carolina) . that would be great. thanks.

....there is an artical in the new ASC magazine with Philippe Rousselot, and he talks about china balls a fair bit ( in his new film Constantine) , and how he uses them and what not, and his wright up in the reflections book does the same.

does anyone know of any good photography websites? with some great pictures. thanks.

i plan to shoot with a Norm's hostess tray side door mount, and i got the package but the guy who picked it up for me didnt get a manual or any instructions with it, so we arnt sure exactly how to build it properlly. ...we also picked up a Speedrail hood/roof car mount...and that also didnt come with instructions, so we have this massive piece of metal, and loads of rachet straps, but not sure entirely how to build the thing...anyone have any ideas? online tutorials? or online manuals? please post them here or email me , and i will owe you a massive favor for the rest of my life! ha please need help! brianmakemovie@gmail.com brian

i plan to shoot with a Norm's hostess tray side door mount, and i got the package but the guy who picked it up for me didnt get a manual or any instructions with it, so we arnt sure exactly how to build it properlly. ...we also picked up a Speedrail hood/roof car mount...and that also didnt come with instructions, so we have this massive piece of metal, and loads of rachet straps, but not sure entirely how to build the thing...anyone have any ideas? online tutorials? or online manuals? please post them here or email me , and i will owe you a massive favor for the rest of my life! ha please need help! brianmakemovie@gmail.com brian

hey everyone...i just have some questions about shooting in a car during daytime. this will be the first time i will have ever shot in a car, so im a little nervous.so here is what im working with. ill be shooting ARRI SR2 with Kodak vision 2 500T, ill be using a 10-100 t2 zoom lense (but i also have the option to rent a 11-110 T2.2 Zeiss for a fair bit more money) ..i plan on gettin some kinos for inside the car as well, the miniflos (9" heads)...but use mostly avalb. light.....i will have a hosstess tray and a hood mount...but i want to do alot of handheld inside the car as well. a few particualar questions i have are.... 1. should i use a polo inside the car or just for the mounts on the outside of the car? 2. do you think that zoom lense will be wide enough for inside the car? 3. are there any interviews online with DPs about shooting inside cars? 4. will the kinos help, where would be the best placement for them? 4. any other tips or problems you have come across shooting in and around a car? thanks soooo much. brian johnston

i know this a sad sad question, but im new and learning a bunch....but i wana shoot some daytime ext...but i get a reading on some 500T of around 22 on the meter or 11....how do i compensate properlly, cause i would like to shoot around a 5.6 with a polo on it. i know i have to open up at least two stops for the polo, but if im getting a reading of around 22, what kind of filters do i need? thanks.

...fastest and best all around out of these zoom lenses? ..sorry i dont know much about lenses. 17-102 T2.9 Angenieux CF 2' 6" 25-250 T3.5 Angenieux HR CF 5' 7" 20-100 T3.1 Cooke CF 2' 4" 7-63 T2.6 Canon CF 2' 11-110 T2.2 Zeiss CF 5' 10-100 T2 Zeiss CF 5' 12-120 T2.5 Angenieux CF 5' 10-150 T2.5 Angenieux CF 5' 7 to 63mm Canon Zoom T2.6 9.5 to 57mm Angenieux Zoom T1.9 10 to 100mm Zeiss Zoom T2.0 11.5 to 165 Canon Zoom T2.6 PL 25 to 250mm HR Angenieux T3.5 thanks a bunch.

...just wondering if anyone has ever used cine lab (www.cinelab.com) in boston before by chance. if so how it went, happy with what came out? just wondering. thanks a bunch. brian johnston

i was looking to shoot the 800T rated at 500ASA. i had planned to use only avalb. light really, with some bounce here and there.

but what if i cant afford to push in post?

thank you very much.

what exactly do they mean? and how do you actually go about doing that?>

haha ok sorry, the one i really wanted to know about was the spot for Literacy. i really really really like that spot. that is the look im going for a short im about to do. just wondering how you got that look actually. thank you soooo much. brian johnston