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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. Very cool little discovery! I've just ordered a set (to make life MUCH easier when I want to use nets). And maybe some more interesting things like centre spot or star filters. Manfrotto make their Xume magnetic adapters for a 49mm diameter (which are brilliant for quick changing filters) I wonder if there's enough space behind the lens to fit the additional magnetic filter layers without any hard vignetting? If so, that would make it really nice and convenient.
  2. Congrats Justin!
  3. Yeah, I certainly won’t be rushing to shoot macro eyeballs with a 24mm again anytime soon! Distance is most certainly your friend for those ones.
  4. Thanks Tyler, we shot it on the F55. The story is a remembrance, but it's also supposed to be a compression of events and representative of the cyclical and dependent nature of so many domestic abuse situations. People don't just leave, caught up between their love and the constant conflict, and and the cycle keeps repeating itself. The original title for the film was "The Loop", which I personally think they should have kept. A good point Sat, for anyone interested in taking a look, you can click through to the vimeo page itself to access the forward/backward controls here: htt
  5. Personally, I tend to add a little clean tungsten light into my red-lit "darkroom" scenes (to pad out the spectrum a little). However, if you don't have the money for gels, you can 100% shoot the scene normally with plain tungsten light and get a perfect red result in the grade. It take literally seconds, just drop a solid colour generator on top of your clips that need it. Set the colour generator to the red hue of your chosing, and then use "Colour Burn" as your composite mode for the generator. It'll turn a normal image, into a purely red one. The only limitation, is that you can't ea
  6. Here's a direct link that should make scrubbing through the full session easier: Password: TOMI2021
  7. Hey guys, you can catch our little period piece "Today", screening in competition with Australia's top 100 shorts for the next week at the St. Kilda Film Festival (which is streaming online for free this year). Really proud of this little film and the terrific team who pulled it together under COVID restrictions and between the two lockdowns last year, and it's screening alongside a really interesting collection other films in the session called "Tales of Mystery & Imagination" (it's the last film in the session, but I enjoyed the whole session if you want to watch them all). The play
  8. Sound Devices had this essentially already covered with their PIX video recorders 8-9 years ago - which had a 12-step false-colour mode, which was brilliant, and all anyone would ever need for perfect exposure every time. Essentially, with 12-steps (the top and bottom steps being black/white clipping) what you have is a 10-step system - basically the Zone System for video. Let's you know exactly where all of your image detail is sitting - what's barely-discernable shadow detail, what's pure black, what's regular shadow detail, or mid-tones, or highlights, or specular highlights. A VASTLY
  9. The Shogun is okay, but only just "okay" for monitoring, and you MUST NOT for any reason, use Atomos' built-in LUT engine to do any image processing. Their system is totally f**ked and will destroy any semblance of accuracy in your monitoring. Send the Shogun a LUTted image directly from the camera though (with no additional processing on top) and it's serviceable. Be aware though, that their spec sheets lie about a few things. The only have one SDI output (not two) if you're needing to do any loop-through with the monitor. The only real strong points of it (to my mind) are that i
  10. Hi everyone, Looking for a Sigma Cine 135mm T/2 Lens (PL-mount, Feet). If anyone has one for sale, please drop me a line. Cheers, Mark
  11. If you want to control and shape your light, a book light is a pretty poor choice of source. They're basically the most diffuse and omni-directional of all lights.
  12. As I understand it, it's an LCD screen, that darkens when charge is applied to it. The limits are that two stops is the lightest density you can get with it, and seven stops is the highest. So you still often have to add external ND at the high and low ends of the range. You also can't use polarisers with it, because you get weird artefacts in the corners. Apparently there is colour shift caused by the electronic ND, but Sony are compensating for those shifts internally. So you're not actually seeing any colour issues in your recorded footage. Ultimately, although it's super useful. I
  13. It's a really polarising camera for me, possibly more-so than any other I've used to-date. It has features that I absolutely f**king love, and others that drive me into fits of unadulterated rage. First and foremost, fully-built with PL glass, matte box, EVF, studio baseplate, wireless everything - it’s just over 8kg… not for just the camera body + body accessories, that’s in-total. Which is nuts. I’ve never had any build (of any camera) with all the mod cons, weigh so little. Then there’s the speed of its processors. The camera literally boots up and is ready to shoot in the time i
  14. I do LOVE the electronic ND. But if you held a gun to my head, I think I'd still take the Venice's 1-8 discrete stops system - because you can still use polarisers with it, and having a 1-stop density at the bottom of the range, and an 8-stop density at the top, really does make a difference (as it stands, I'm still frequently having to drop in normal 4x5.65 NDs to get the exposure where I need it). We're doing it all on the FX6. It's been (hands-down) the most difficult camera I've ever had to rig up into an A-camera though. It's so tiny that fitting all of the accessories we need on
  15. I'm coming into the third week of a Bollywood feature at the moment, and we're shooting on the new Sony FX6. I had my first opportunity to use the 12,800 ISO (native) high-ISO mode last night, and it's damn-near mind boggling. We had to get some driving material on some exceptionally dim suburban streets (as in, your eyes can barely discern any detail dark). Chuck the little Sony into its low-light beast mode though, and all of a sudden these impossibly dark streets are correctly exposed... In order to get a bit of low-level fill on our actor (so that he never dropped off into total dark
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