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Stuart Brereton

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Stuart Brereton last won the day on April 21

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About Stuart Brereton

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  1. As you say, you mostly shoot content for yourself, so you can choose how conscientious you want to be about checking the gate. Paid work for other people is a little more exacting, and having hundreds of feet of footage needing expensive fixes because of gate hairs won’t make you popular with employers. In narrative work, gate checks are simply part of the process. Spending a few seconds checking is much preferable to expensive reshoots. In documentary work, it’s often harder to find the time, but it should still be done as often as possible and practical. Gate checks are not done just to give assistants something to do, they are part and parcel of ‘best practice’ when working with film. However you choose to run your own camera, it’s probably not that helpful to be telling other people that they don’t need to bother checking the gate regularly, particularly when this whole thread was started by someone complaining about gate hairs and scratches on his footage.
  2. You need to check the gate a lot more often than between each roll. It’s very easy to get tiny flakes of emulsion building up in the gate, even after rolling even just a few feet of film. Also, checking the gate after removing a magazine is pretty much pointless, as any dirt or emulsion that was in the gate may well have fallen out when the pressure plate was removed. Always check the gate from the lens side by removing lens and inching the shutter out of the way. If you’re using a longish zoom, you can check through the lens by zooming all the way in, focusing at infinity, and then shining a flashlight through the lens at the gate.
  3. You might try asking local production companies if they have any short ends they don’t want. This used to be a sure fire way of getting stock to practice with, but these days, who knows? Worth a try, nonetheless.
  4. In narrative work, it’s common practice to check, and if necessary, clean the gate after every good take.
  5. If the crop factor, or sensor size changes, the FoV changes. The two are interconnected. I think you are confusing Field of View, which is dependent on sensor size, with Angle of View, which is not. Lenses often have an image circle substantially larger than the format they are designed for, particularly ‘long’ lenses (that is to say long for that particular format). in any case, I think you are getting confused by image circle and FoV. As long as the image circle is larger than the sensor, it’s immaterial how much bigger it is.
  6. It’s only confusing because people imagine that a lens has an innate FoV due to its focal length, whereas it is entirely dependent on the size of the sensor that it is attached to. You’re right in saying that you wouldn’t use a lens in same way when switching between formats. Using a 25mm lens on FF would give you a very different FoV to using it on s16, but that’s exactly the point. The lens doesn’t change its focal length, but the FoV does change.
  7. A 50mm lens is a 50mm lens, regardless of the format it is designed for. You could put that Signature prime on any format from Super 8 to Full Frame. Its focal length does not change. What does change is the Field of View. On Super 8, a 50mm is a long telephoto lens, on s35, it's standard, and on FF it's slightly wide angle. Try drawing a circle. That's the lens image circle.The lens's image circle is everything the lens "sees". Now draw a FF sized box inside the circle. That is everything the FF sensor "sees". If you then draw a s16 sized box inside the circle, you can see that it "sees" less of the circle than the FF box, and therefore has a narrower Field of View. A super 8mm sized box would see even less. The field of view changes with each sensor size, even though the focal length of the lens stays exactly the same.
  8. When the movie business is slow here in LA, we occasionally use them as a river. 😉
  9. Sony S log and ARRI Log C are very similar, both being based on Cineon. The color science will be different, obviously, but that should be something a competent colorist can deal with. The main issue is likely to be noise, as the FS7 is noisy at its native ISO of 2000. Most people rate them at 800 iso to clean the shadows up, but it does mean that you’ll lose 1 1/3 stop of highlight detail, so keep an eye on hot highlights as they’ll clip a lot sooner than they would on the Amira.
  10. Your best bet for photometric data is likely to be the globe manufacturer. Ushio are one brand in the US.
  11. E27 means 27mm Edison screw, Also known as a medium base bulb fitting in the US. B22 is a 22mm bayonet fitting, as used in the UK
  12. Many TVs allow you to adjust picture settings input by input. Are you sure that the settings were the same for both the browser and the tv inputs?
  13. Does it have to be a corn bulb? If all you want is high CRI LED with a E27 base, why not try the Quasar Science A-Series light bulbs? 3 different color temps, 12w and dimmable. Those corn lamps usually have terrible color reproduction
  14. Obviously people are using slow shutter for creative purposes. I just have a hard time believing that it's being commonly used to compensate for poor lighting. Back in the F900 days, when shooting night establishing shots, it was fairly common to switch the shutter off to get an extra stop of exposure. It worked very well, but you had to make sure there was little or no movement in the frame. I haven't needed to do it in years, and I haven't heard of anyone else doing it either for anything other than creative reasons.
  15. Could you give examples of this? I've haven't seen anyone doing it, except under special circumstances, certainly not as an excuse for poor lighting. Maybe it's something that kids with camcorders do when they don't have enough light, but I've never heard of professional DPs doing it.
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