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Stuart Brereton

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Stuart Brereton last won the day on November 10

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About Stuart Brereton

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    Cinematographer
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    Los Angeles

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  1. I think everyone sooner or later has a project that doesn't excite them, for whatever reason. The trick is to remain focused on what your particular job is, and to do the best you can in that role, or to find some way to use it as a learning experience. I shot a holiday movie a while back, and I knew that the lighting on the show was going to have to be flat and high key, and there was no room for me to be creative. I didn't want it to become just a 'paycheck' job, so I tried to find a way to make it challenging. As I was also operating, I decided to get a geared head as part of the equipment package. Although I can use one, I wouldn't consider myself an expert, and I'd never used one for an entire movie before, so this was going to be the learning experience for me. I ended up shooting 95% of the movie on the Arrihead. The movie was a fun experience, and even though it was not something I particularly aspired to shoot, I felt that I learned some valuable skills.
  2. Modern cameras already have the dynamic range to create HDR, so there's nothing new there. As there's currently no practical way of monitoring HDR on set, it really just requires an awareness on the part of the DP of what will be happening to the material in post. It's back to the old days of protecting your highlights. A lot of producers have been doing an HDR pass on the grade alongside the SDR version for a few years now as a way of future proofing. It's no surprise that it is now becoming more widespread as a deliverable.
  3. There's also the fact that equipment manufacturers (of which there are many more today than ever before) have a vested interest in convincing their customers that technology is of paramount importance if you want to create great images. Pay a visit to Cinegear one year, or any of the other trade shows, and you'll see hundreds of manufacturers all offering the 'latest and greatest' technology, and all guaranteed to solve problems you never knew you had. We start to believe that technology is the answer to every question, because we are constantly told that by the people who manufacture that technology. There will always be people who want to delve deeper into the technical details. Take a look at some of the online stills film forums, and see the discussions about arcane processing techniques, and the relative merits of various film/developer combos. There are photographers who insist on knowing all about T grain technology and densitometer readings, but equally, there are photographers like Saul Leiter, who shot with expired Kodachrome because it was cheaper, or William Egglestone who bought drugstore film because that was sometimes all he could get when shooting in the middle of nowhere.
  4. Digital cinematography is just like digital photography in that there are plenty of people who just want to create images, and there are plenty of others who want to pixel peep. Personally, I like to know just enough about technology to do my job properly, and no more. There will always be those for whom the equipment is almost more important than the images, just as there will always be those who concern themselves purely with pictures and rely on other to supply the technical knowledge. There's room for both groups, I think.
  5. Tyler, this is the equivalent of saying “the dog ate my homework”. If you can’t provide evidence to support a claim, either don’t make it, or have a very persuasive argument why we should believe you. With regards to the Arri issue, I work with Arri cameras all the time. Never had an issue. Never even heard of an issue. My assistants, who work on a huge range of projects, have never once commented on Arri cameras having problems, and you can be sure they would, because they have no end of complaints about RED cameras. if you choose to pretend that Dom’s evidence is somehow biased, despite being based on Panavision’s worldwide service logs; if you want to deny the vast majority of experience of other users, and instead cling to this assertion that you’ve made, without proof, then go ahead, but please don’t expect to ever be taken seriously again. Likewise with your comments on Roger Deakins. You made a statement claiming that he thought film looked better than digital. You provided no direct quote. You provided no evidence of any kind to support this. Now you’re saying that it’s perhaps something that he might have said in the past, or that it was a feeling that you got from something he said. Had you said as much in the first place, I doubt anyone would have taken issue, but you didn’t. You made a unsubstantiated, and easily disproven claim, and then doubled down on it. Of course people were going to argue. Of course you were going to be picked up on it. You might want to ask yourself why it’s always you that this happens to.
  6. This seems to be your stock answer every time you are challenged on one of your claims. You don’t have time to get proof from the rental houses. You don’t have time to find the quote from Deakins. You never have time to provide actual evidence for any of the far-fetched things you say, and when you’re corrected, you double down on whatever dubious assertion you just made. You’re your own worst enemy, and it’s no wonder that people doubt every word you post. Theres a simple answer here. Don’t make claims you can’t support.
  7. 100% isopropyl evaporates very quickly, so it’s harder to use. I’d guess that Pancro is more like 85-90%. i don’t know if there’s more to Pancro, but the MSDS seems pretty clear. https://www.filmtools.com/media/Pancro_MSDS.pdf
  8. According the Pancro MSDS, it’s nothing but Isopropyl Alcohol, which you can buy at any drugstore.
  9. Paul Maibaum, ASC and Eric Steelberg, ASC also used to post here, as did a number of other professional DPs working on shows that you would have heard of. It's impossible to say what their reasons were for ceasing to post, but it's not hard to imagine that they too became disenchanted with the tone of some of the posts here, and the descent into wild speculation, ill-informed opinion and blind arrogance. Any internet forum is only as good as the people that post there, so it's up to us if we want Cinematography.com to remain a place where information is shared and advice is both trustworthy and freely given. I suspect that the vast majority of members here would prefer that it did remain a resource for learning and discussion. For those who want nothing more consequential or reliable than a chat room, well, there are plenty of other places to frequent.
  10. My opinions, Tyler, are always quite clearly stated as such. I don’t indulge in making appeals to authority by fabricating quotes and attributing them to famous cinematographers. I don’t make up stories about faulty equipment and pretend that ‘many people’ have told me about ‘known issues’. I don’t claim to have more experience than I actually do, and I certainly don’t have the arrogance to tell award winning ASC members how to shoot their movies. All that crap might play well at your local film society, but in the real world, people know better.
  11. Lots of quotes, but in not one of them does he say that film looks better. Fact free zone, as usual. If you have a point to make, provide evidence. Otherwise, state that it is nothing but your opinion. "I didn't state any facts" Tyler Purcell 10/30/2019
  12. SR mags are not hard to load. There’s a witness mark on the bottom of the mag which tells you how long to make the loop. You might find yourself making the loop too short or too long by one perf, but that’ll just mean that the camera runs a little noisy.
  13. Robin, Internet forums are fact free zones. Opinion, conjecture, and fabrication are the currency here. Tyler already explained this to us.
  14. I used them once a few years ago, and was disappointed with the output. I'd rent a couple of M18s and double diffuse.
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