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Stuart Brereton

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Stuart Brereton last won the day on March 13

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About Stuart Brereton

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    Cinematographer
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    Los Angeles

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  1. You mean like the Alexa Studio? The camera that everyone asked for, but very few used?
  2. The problem has always been maintaining the pixel pitch that gives Alexa its sensitivity and dynamic range, while trying to squeeze ever more pixels onto a s35 sized sensor. They'd already increased the sensor size as far as they could and still reasonably call it Super 35, so I guess they must have solved it another way.
  3. This makes perfect sense for TV production and VOD. They should have done it years ago.
  4. David, I was really just making a joke about the numerous opinions and sometimes esoteric ways people describe ‘light’. Much as I love using tungsten, I’ve never thought of it as having texture.
  5. But Phil, Tungsten looks better. It just does. Is this an opinion? Yes. Can I provide evidence? No. Will I argue this point forever? Absolutely. 😉
  6. Usually, Muslin is used as a bounce material. Roger Deakins uses it a lot, sometimes with HMI lamps (usually bleached muslin), sometimes with tungsten (unbleached Muslin). It's a lovely soft light, without any specular quality, like you sometime get from harder bounces like griffolyn. You can also light through it, but it takes a lot of light to do it. Robert Richardson did this on Snow Falling On Cedars, but he was using maxi-brutes and dinos to do it. It's a very inefficient use of light. I doubt there are many LED units on the market that have enough punch to push through muslin.
  7. My local lens tech likes to relubricate the helicals with a high viscosity grease. Being thicker, it offers more protection to the threads, at the expensive of it being slightly harder to turn the barrel.
  8. Union feature rates vary greatly depending on what production Tier the budget is in. There isn't really a 'typical' union rate for anything. Under the Low Budget agreement (Tiers 1-3), which makes up a large chunk of union feature work, an assistant editor would make around $2100 a week on a Tier 3 movie. An editor would make $3600. On Tiers 1 & 2, the rates would be substantially lower.
  9. If the lens has a filter thread, you could try stretching the net over the front of the lens, then screwing in an appropriately sized skylight filter. If not, try rubber bands.
  10. Looks like a Manfrotto stand. Probably a heavy duty baby stand with a lighting boom on it.
  11. Nothing looks as good as a nice tungsten bounce. 🙂
  12. Ah, DPs and their secret vintage filters.... 🙂
  13. Broad sources don't strictly obey the Inverse Square law, which really only applies to point sources. You can think of a broad source as being a nearly infinite number of point sources, all overlapping each other as they spread. Because of this, the fall off is not exactly as would be predicted by Inverse Square. This probably doesn't make a huge difference in 99% of situations, but it's worth knowing.
  14. I also have the Spotmeter M. Years ago, I recalibrated it using the dial inside the battery compartment so that an 18% gray reading at 1/60 matched my incident meter at 1/50. Obviously, this made it inaccurate at any other shutter speeds, but as I only use it for cine work, it didn’t matter.
  15. My thoughts exactly. Someone, somewhere is very bored.
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