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Mark Kenfield

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About Mark Kenfield

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  • Occupation
  • Location
    Australia/Wherever The Wind Takes Me
  • My Gear
    Arri Alexa Studio, Zeiss CZ.2 Compact Zooms
  • Specialties
    I'm makin' movies, singin' songs and light'n round the world.

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  1. There's no point in getting shitty about the quality of other people's work. If they're doing a job you wanted (even one you think you could do better) the simple fact is - they won, you lost (if you were ever even in the running). And whatever it is they're doing to get these jobs, is clearly working. So instead of getting judgemental about their lighting, try to get judgy about your own approach to marketing yourself - because that's the only thing that's lacking in these situations 🤷‍♂️
  2. Still plenty of jobs down here in Oz asking for F55s. They're workhorse cameras - and the new S709 colour science from the Venice has given the images from the older camera new life. I would take one any and every day over the FS7 (which I've always found the image from noticeably "thin" to work with in post). If you want raw recording, want to shoot Sony, and can't afford a Venice, then the F55 is definitely the option to go for - the raw workflow on the FX6/FX9 is pretty janky still. The Venice and F55 share the same Colour Filter Array - so you're getting the same high-quality dyes in
  3. The lackluster build quality of all of the SmallHDs I've encountered, has kept me from investing in one for myself. All of my current onboard monitors offer recording capabilities (because they're just so much faster for playback on set, than almost any of the cameras internal playback, except perhaps the Alexa Mini when paired with the WCU-4). The Osee G7 is a really interesting new option: - 3000 nits (game-changing for using outdoors) - A nifty v-mount adapter plate - All the monitoring features you could ask for - Very lightweight
  4. Selling my low-hours and uniquely customised Sony PMW-F55 with AXS-R5 package, and this one is pretty special. With 4k 16-bit Raw up to 60fps, 480Mbps 4k XAVC 4:2:2, 400Mbps 4:4:4 SR recording and a global shutter with up to 240fps in 2k Raw, the F55 is an imaging beast (that just shot the latest season of The Crown for Netflix). And thanks to the Colour Filter Array it shares with the Sony Venice, you get the benefits of the vastly improved colour science that’s been developed for the newer camera. The Venice’s S709 LUTs have been installed in the camera to give you the new colour s
  5. If you don't have a Cine Saddle to-hand (you should though, they're brilliant), you can simply make one by getting any old (and reasonably floppy) shoulder bag any stuffing it with down jackets, or towels or whatever you have to hand, and just resting the camera on that while you undersling it.
  6. Tell that to the 6-man Jimmy Jib crew I had in India, who couldn't (for love or money) manage a basic tracking shot part way down a staircase... or even the simple boom up that I then simplified the shot down to 😑 There's some pretty incredible BTS footage of me on the brink of a complete mental breakdown, somewhere around take 38.
  7. For a space that large, during the daytime, you'd need a large grid of big HMIs or a couple of Wendy Lights to have any impact whatsoever against the ambient brightness. It would be a very extensive, and expensive prospect.
  8. You can pry my haze and backlight from my COLD, DEAD HANDS!
  9. Selling my trusty Cubix Desktop Xpander Elite PCIe Gen3 x16 Expansion Chassis. Obviously that’s a mouthful to say, but basically this THE Big Boy eGPU enclosure. There’s no pissy Thunderbolt 3 40Gbps bandwidth here, you’re looking at the full 128Gbps PCIe Gen3 x16 Bandwidth spread across four double-slot wide x16 PCIe slots, with a 1200w power supply. So you can add up to an additional four GPUs to your system (or whatever other PCIe I/O you want - SSDs, Video or Audio I/O, 10Gbe Ethernet Cards, Fibre Optics, whatever you need). It’s compatible with both PC and Mac, and can be used o
  10. Selling my maxed-out and much loved Apple Mac Pro 5,1. This big old beast of a workhorse has been heavily customised to squeeze out every last ounce of performance for video post-production work. With the most powerful processors available for it, the largest and fastest RAM configuration (six 16GB DIMMs to take advantage of the computer’s three-channel memory), and AMD’s latest and greatest 5700XT GPU (which puts up impressive Metal-compute numbers, and features AMD’s 7nm NAVI architecture), there’s also a 4-port USB 3.1 card from Sonnet which provides 10Gbps transfer speeds (approximately 90
  11. All of the old digital grading workflows sucked. There was so much trial and error going on - that's why results were so inconsistent. Better to stick with whatever's current.
  12. Here's some pool action from an under-resourced little film: In order to keep as much of the city skyline exposed as possible, we were balancing the lighting to really low levels (about 1280 ISO @ T/1.6 if I remember correctly). This meant we didn't actually have to add much to the pool, the pool's built-in lights didn't give us much, but I borrowed an LED scuba-diving torch from my dad, and we literally just popped that in the water at around it's lowest setting, and bounced it off whatever part of the tiles gave us the most even spread of brightness through the water, and t
  13. Hi everyone, Selling a pair of Samsung 960 Pro 2TB NVME M.2 SSD Drives. If you need these bad boys you probably already know why - because they’re the highest capacity 2-bit MLC NAND M.2 NVME SSDs on the market. 2-bit MLC NAND is the only option out there for SUSTAINED high read/write speeds, and Samsung’s “Pro” series are the only consumer SSDs that offer it. Everything else uses (at best) 3-bit TLC NAND modules with a high-speed cache - and as soon as that cache is filled (which is always going to happen at a certain point on sustained sequential actions) your performance will
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