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Jamie Kennerley

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    London, UK & Rio de Janeiro, Brazil

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  1. Hi guys, Selling my F55 kit. Hours are around 1050. I'm looking for £20,500 (+ 20% vat if applicable) for the list below. All beautifully boxed by Case Design. Photos attached, although I don't have the Arri Pro Support set that you see in the photos anymore. Sony F55 + DVF-EL100 OLED Viewfinder 4 x Sony Olivine Batteries Sony BC-L90 Battery Charger Sony SxS Pro+ Card128GB R5 Raw Recorder (Hours: 370) 2 x Sony AXS Card 512GB AXS Card Reader Rigidised Aluminium Camera & Accessories Case with lazer-cut interior Rigidised Aluminium Battery and Charger Case (can accommodate 6 Olivine batteries) Cheers, Jamie Kennerley jamiekennerley@hotmail.com 07863 180 802
  2. Hi all, I have a drama shoot with a scene where the director wants to use UV to bring out some graffiti that will be painted on the walls with (I guess some special...) chalks. Similar to the White Rabbit scene in the David Fincher movie The Game: http://www.youtube.com/watch?v=DiMhWBFj3J4 Does anyone have any general advice on this? I've never shot with blacklight, so am unsure as to what to expect in terms of power of the lights, white balance etc, and how they'll work mixed with other lights, and if it's advisable (depends on the intention of course I guess...). Correct me if I'm wrong, in that scene from The Game it looks like the spaces are lit only with the blacklights, which are giving both a kick on the graffiti and creating the general blue ambience that we see. There doesn't seem to be any other lights in play there. Am I wrong? Also - what's the colour temperature of blacklight?! My gaffer is looking into this too - he's never worked with UV before either. Thank you in advance!
  3. Thanks to everyone here. We're going with 24fps!
  4. I guess 23.98 is the safest format to shoot here for broadcast, yes? But since this is a short for the festival world before anything, I think 24p is our best bet to not encounter flicker whilst shooting here.
  5. How d'you mean by an Avid licensing issue? Sure the ability to edit 24p is available across all post suites now isn't it?!
  6. Thanks Brian, Phil. This is my quandry really - whether to just shoot 24fps to have a safer starting point, like all the locals do. For the one big-lit scene I'll be using HMIs plugged from the wall, mixed with the local flourescents in the space. In some ways I'm not so worried about that bigger scene because we have plenty of visibility and time to setup. It's more should we pass by bars and shops etc (we're doing lots of car shooting) and we catch a glimpse of the interiors and they're flickering, and we didn't notice or couldn't adjust at the time. Maybe it's just a safer starting point to shoot 24fps with a 180 degree shutter? Would you agree?
  7. Hi there, I'm about to start shooting a short drama in Brazil - 25fps as it's a UK production. Shooting on the F55. It's largely exteriors and very little lighting, but we do have a big interior scene in a location full of bog-standard fluorescents. Am I going to need to change my shutter angle to 150 degrees to deal with potential flicker for that part of the shoot, since Brazil is 60hz rather than the 25fps-friendly 50hz? Or am I likely have to do much more fine-tuning of the angle...? And will I definitely be able to solve whatever flicker I encounter?! I would hate to get to that part of the shoot and be regretting our decision to stick with 25fps! Thanks so much in advance, Jamie
  8. Many cars nowadays in Brazil have tinted windows but we'll have an old car, so yes, the ND's a great idea. Reduce the need to light in the first place. I like it. I hear you with the lamps on the hood. I'm much more in favour of a gel and bounce solution if possible. Thanks Stuart.
  9. Hi there, I'm shooting a low-budget short end of the month - about 60% in-car. God help me... Shooting 4K Raw on the Sony F55, and in Brazil, so plenty of bright sunny days to contend with outside the car. Lots of car rig shots - through the side windows, some on the bonnet looking back in through the windscreen and some from the back seat. I wanted if anyone had some general tips - from experience - for getting a decent exposure inside. And that to boost the light coming from the the exteriors, rather than just a big general level lift inside. There isn't the budget for a low-loader for more than one day, at most so I need a more basic solution for lighting. I'm planning to line unoccupied seats and actors' laps with white fabric - or perhaps kitchen foil for certain scenes - to bounce more of the light around that's coming into the car. For the actors in the front seats, I don't expect I'd get enough level from mounted LED panels, and so am wondering if a 200W pocket par HMI rigged from the bonnet (and possibly a second one bounced off the interior ceiling, although this would bring up some light-direction issues...) would bring my levels up to a decent enough amount. There's obviously power issues there if we're wanting to power from the car's battery - although I think one 200w should be fine... (We're not likely to have a gaffer for the whole time but will certainly be taking advice on how to power safely.) I think the F55 RAW will certainly help us in being able to safely over-expose the exteriors by a good 3 or 4 stops and then bring those down to a certain extent in post if necessary, but it would require a certain amount of masking in post I think I don't want to rely on that at all. Any advice here would be really appreciated. I know everyone hates shooting in cars.. Thanks, Jamie http://cargocollective.com/jamiekennerley
  10. Actually Matthew, I know of a doc that's coming to South Africa and is looking for a cameraman - I think shooting Z1/Z7 combination. Would you be interested if I pass on your details? If so drop me an email at: jamiekennerley@hotmail.com with details of how to contact you. Jamie
  11. Hi Matthew, Thanks for your reply. I hadn't studied previously (well, French and Music at Leeds a few years back), I've just learnt on the job. I was a camera assistant for a long time, and have been shooting more these past couple of years. I have a fledgling website here: www.jamiekennerley.com I have made my own films, but everything I submitted was directed by other people, which perhaps wasn't the things to do. It doesn't show your mind working to the same extent as if you've directed if yourself. I'll get some new stuff of my own shot for next year then, and see if that makes a difference. But you're right, getting in there is HARD. So well done again for having made it this far. Jamie
  12. Nice one you two. I was one of the unlucky ones that didn't get through unfortunately. One of the many! Out of interest, Stephen, Matthew, did you both submit showreels of work you'd shot for other people, or film/s you'd both directed and shot yourself? It's impossible to know what they're looking for (they know what it is when they see it), but from chatting to Brian on the open day it seems that they like to see applications (good ones, of course) that have been shot and directed by the applicant, so they can be sure that the grasp on storytelling belongs to the applicant too, as well as the visuals. Make sense? Morgan may be able to help out with info, yes. We worked together briefly many years ago at Hot Animation, although he may not remember me...! Jamie
  13. Hi to Cinematography.com Londoners, This may be of interest to you or your collaborators. It's an open-mic night for filmmakers that I run - a truly open screen for London's filmmakers. Works on a first-come first-served basis to screen. Read on for details, and please contact me directly or via the addresses below for more info. Jamie Kennerley KINO #5 - Monday 18th May, 2009 Horse Hospital, Colonnade, Bloomsbury, London, WC1N 1HX Doors at 7pm, Admission £4 (filmmakers free), light snacks for all. Following a packed April screening, Kino London will hold the second of its monthly open mic nights for the city's filmmakers on Monday 18th May. Taking place at famously avant-garde venue Horse Hospital in Russell Square, Kino's monthly nights provide a regular, uncensored platform for London's indie filmmakers. With no pre-selection, filmmakers book themselves in on a 'first-come first-served' basis. Abiding by a few simple rules, you then turn up with their film on the night, ready to pop into the player! Following the success of Warner-signed singer Valentina alongside the films at last month's screening, Kino #5 will also feature a live London act, to be announced shortly. Anyone wishing to screen should visit www.kinolondon.com for screening rules, and email sam@kinolondon.com to get their name on the list! Kino London: The Background... The binding philosophy behind Kino is the belief in making the most of few resources, and in a competition-free platform in which filmmakers can experiment and develop. Kino London has already energised London's filmmakers with a screening of specially made silent shorts at the Southbank Centre in January, as well as a major 4 day filmmaking 'Kabaret' at London Short Film Festival in the same month. Kino #5 makrs the continuation of our now monthly nights giving the floor to London's indie filmmakers. Email to screen: sam@kinolondon.com All other enquiries: info@kinolondon.com www.kinolondon.com Find us on Facebook here: http://www.facebook.com/group.php?gid=39965446610&ref=ts
  14. Hi Oleg, I think this is great looking. A very successful piece. What's the spec camera/lens? My feeling is that you're using an adaptor here, as you're working with such shallow depths of field - is that so? I'm curious to know if it's something like the EX3 or a higher spec. Difficult to say if the crossing the line bothered me truly, as because I was waiting for it I noticed it straight away. But the shots are very attractive, and you're cutting in for a close-up on the bride - quite a personal shot - so I think it's fine. This is documentary, and sometimes you have to tell the story with the images you were able to capture - bugger the line - and you tell the story well. I think the depth of field is almost the star here, as it's so noticeably shallow. Sometimes you're moving the camera to get people back into focus. Without that feature it might be less interesting, but that's hardly the point. Please tell me what you're shooting on/with... Cheers, Jamie www.jamiekennerley@hotmail.com
  15. Many thanks for your replies on this. Apologies that I haven't been back on this topic for a while, but there turned out to be no money for an assistant so I didn't work on the project in the end! So, I can't be specific about how the shoot worked, but from what research I did do in the run-up, I came to similar conclusions to Aaron - that the best approach is to adjust exposure to register your main lighting changes correctly. Let your day fall under, effectively getting a fall out by under-exposure; open up to adjust for the real sunset and let it fall to night; open up again for night. Then smooth the transition in post. There's an interesting article here: http://www.soc.org/opcam/09_fw9697/mg09_timelps.html Thanks again, Jamie
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