Josh Brokenbourgh

This is the list I need to fullfill. Insurance on camera rental houses are $2500. Looking to rental a personal package in the Portland, Oregon metro area. ? HDX-900 with a 13x4.5 ENG style HD lens. ? A Panasonic BTLH900 8.4" LCD monitor ? Tripod O'Conner 1030 ? and a Hi-Hat Please PM me if you have a camera or a contact. Thanks! Josh

Great assortment of looks and feels. I would hire you. Nice work.

I want to see it. Nice work.

For what you have the cinematography is good. Try to watch out with the camera shaking when it is not supposed to like when the character walks in his house for the first time the door shuts and the camera shakes. Really you could actually make that into something cool for a transition but it seems like an accident. I agree with the editing issues, but I don't think your bad at editing. I think it is more the story and the motivation of the character. Every single thing you show should be advancing the story that includes moving the camera. Moving the camera has a specific purpose (within the context of your story) and there are so many ways that you can use movement to help the story. But don't be fooled, just moving the camera for no reason doesn't work. Always ask your self "Is it motivated?" what ever doing- writing your script, your shot list, story boarding, directing etc. For example: The character comes home. Then he starts moving around his house with the mail and the soda. He gets the call. Try: The character comes home and as soon as he enters the annoying ringing of the phone starts thus giving him a reason to be near the phone. Unless you bring back things like the mail, or the soda don't use it. Just go straight to the phone. I know he crushes the soda can later but that is another issue. It takes him way too long to get out of the house after he gets the call. He seems to be angry is the feeling I'm getting. The keys, and the coat and all that can be assumed. Just put him on the road right after the call, try just showing the c/u of the speedometer and then cut out to him. For every day things like walking, talking, listening, driving etc you can always play with more and allude to- we are so used to doing those things that showing them missionary style can slow things down. Besides all that I really like this film. The end sequence is money, especially that last shot with the sand moving around- timeless. Great job- I hope that helped.

Well done. The camera looks great, high speed great. Good selects of ecu, close, med, long. The ecu's and inserts are beautiful. Very nice work. There seems to be a lot of dissolves in the beginning, it may be just because I haven't had my coffee yet ;)

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Wow, I really enjoyed that footage. The light looks so good- when the water is blue, and the background is orange- love the complementary contrast. Great work, thanks for sharing.

I understand what you mean by too beautiful- If you look at the color and tone in Scarface it's pastels and soft- so it juxtaposes the action and dialog. But that isn't as recent- I really like the way the camera moves in Waiting. And also like Eternal Sunshine of the Spotless Mind for light.

Another copy of an imitation. I watched it compliments of Fox Searchlight last night and want to share. I agree with those who have mentioned the script being a slice of swiss cheese. There a few parts visually taken directly from Alien (the dinner table introduction), 2001 (too many to mention), and inspiration for mood from Event Horizon and Solaris. It was very audibly emotional but not so much visually. Some of the scenes felt like a music video for an emo band- like when they are all on the observation deck watching mercury go by. This was clearly a problem from another point mentioned earlier that basically states the crew was mentally unfit for the job in which the world is at stake. Thus rather than artistically designing visual clues we have music to tell us how to feel. It's like Blair nodding his head at Bush, but this time it's Boyle and Bay and Bay is worse with his budget -too soon?- Not to worry America lost its innovation skills a long before the Uk. Shallow characters, no back story, and our knowledge of the ship is kept minimal - so anything is possible. It's like they didn't want to make any creative decisions- didn't want to take responsibility for a story. Right when the captain asked Capa to make the icarus 1 decision is where most of us know how it's going to end. Capa may be a physicist but he's not a grown up enough to make a decision clearly- from how long it takes him to send his message home to how he mopes around like a stereotypical emotional teenager. It really upsets me that we can't develop mentally intelligent characters and then f*** that up- Anyone else besides David read the Kim Stanley Robinson- he wasn't paid millions of dollars (or pounds) either. Chris Curtis was type cast again. He has such great energy too- it's a shame the industry still milks fear of the scary terrorists to try to create a tension that isn't there- seen as his character goes slightly insane and when things go wrong our instinct is to martyr skin again, I blame Alex Garland. But how do you go from a story like Trainspotting to a story like Sunshine? I thought that Chris Gill was very creative in his arrangement but he must be hanging out with James Haygood in order to convince the suits to let him throw those inserts of the dead icarus 1 crew on the light path of the flashlight. The freeze frames were a slap in the face for the old people in the audience at my showing- I think it's because the sound was gone too. But it was milked a bit too much for me. Besides the music- I thought the sound was cool, a good mix of contemporary technique combined with a few things we don't hear too often. I would say watch it. It was shot decently regardless of the decisions on the lenses. I did see a few frames that were fully out of focus though- and it wasn't bokeh although there was some present. Maybe our projector? But that was bad. I do agree with the amount of c/u's - sci-fi shouldn't really be this personal in the beginning of the film, and if they were going for "it's a tight space" then we need to see it another way. I was unaware of the use of practicals- it looked good. 1000 pars.... *Hot* The introduction of Pinbacker was refreshing from when we find out there are five on the ship to the high-key montage in the observation room. I know what it takes to model, light and texture- for that I will say bravo to the underpaid dungeon kept animation crew ;) What's even harder is matching the lighting plans. So really I think I enjoyed the look of space and the space ships the best.

http://www.artbeats.com/prod/product.php?pg=1&id=239 These guys are good. I have this set. You could combine the after effects idea with stock footage. Just depends on what look you want. How much of the frame you want the sun to take up? I would shoot it then combine if you have time. Original is much mo' better

Always wear a black shirt, nothing reflective at all if your near the shoot.

Are you shooting mostly docs? Or do you have plans for narratives in the future? Are you going to be shooting yourself, and if so what have you shot on before? Are you editing it yourself? Do you have a sd/hd preference? After looking around and zeroing in what sounds like a solution it doesn't hurt to rent it before buying it. It's also a good idea to do a search on the model on here as well as other forums/sites too.

Best advice you could get really. When I write shorts I just make sure the basic elements are there- A recognizable character that we can some how connect to, conflict and a resolve. You don't have to think of it like act one two and three. Just make sure that when you read it you can imagine it down to the last detail so when it comes time to convey your vision it is clear to you and your crew.

Technical setup on the car scene in the woods. Jamie Lewis posted a different Children of Men video before and it inspired me to look around a bit for more making of stuff on this film. :ph34r: