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Stuart Brereton

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Stuart Brereton last won the day on February 19

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About Stuart Brereton

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    Cinematographer
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    Los Angeles

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  1. 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.
  2. Your best bet for photometric data is likely to be the globe manufacturer. Ushio are one brand in the US.
  3. 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
  4. 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?
  5. 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
  6. 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.
  7. 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.
  8. I think the excessive motion blur in the Michael Mann films was down to them being early digital movies, when cameras were much slower. Shooting in available light at night meant large amounts of gain, but also wide shutter angles.
  9. Presumably your adapter had some sort of bellows focus, as the RB67 lenses lack internal focusing. This would make for quite a cumbersome arrangement for motion picture work.
  10. This is true, but it may be at least partially offset by the fact that lenses made for larger formats tend to be less sharp. This was certainly the case in the stills world.
  11. You mean that this is actually a serious question? You do have a history of denigrating Sony cameras, apparently without having used them, choosing instead to base your judgements on YouTube videos. I, and others, have attempted to explain that this may not be be the best approach to take, but you seem determined to find fault with Sony cameras no matter what. Hence my speculation that you are trolling. Sony cameras have a huge market share, helped originally by the 4k origination rule of Netflix and Amazon, which disqualified Alexas. There is so much material, both movie and TV, that is shot with them. Are you seriously suggesting that it all looks bad?
  12. Robin, I think Samuel is just trolling now. This discussion has probably outlived its usefulness.
  13. It's certainly not a problem that I've ever encountered.
  14. I read an article recently on one of the big Photography websites about a blind test between Canon, Nikon, Sony and Fuji. People were asked to judge what camera was used to take a selection of pictures. The results were no statistically no better than if everyone had just guessed. People like to say they can tell one camera's images from another, but it seems they really can't.
  15. I don't know what you mean by a 'weird grey look', but why are you so convinced that this is some way due to the camera? Shows are lit and graded to look the way they look. It's not some accident, or unavoidable by-product of the equipment used.
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