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Dean Braybrooke Gray

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About Dean Braybrooke Gray

  • Birthday 01/21/1982

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    2nd Assistant Camera
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  1. We already had ND filter wheel 2 in, ND 3 was too bigger stop loss, but a 1/125 shutter speed seemed to equal that final 1 & 1/2 stops we needed to lose, allowing the op to open up to f1.8, it was a sit down interview incidentally. I've always heard conflicting opinions on this from really experienced operators! I'm guessing, rule of thumb would be to only apply shutter as a form of ND when your shooting in controlled conditions with minimal subject/object movement, and when your ND tools have all been exhausted! Thanks for everyone opinions :lol:
  2. You should never shoot interlace because interlace is obsolete and produces a lot of undesirable artifacts. You should instead shoot 50p progressive scan high definition video instead of 50i. Supposing your asked to deliver coverage of an event such as a grand prix in standard definition (excusing all the logistics involved in such a scenario) you would shoot 25P over 50i ?!
  3. Hi there, Are there any negative points to using the shutter as a type of ND when you want to shoot wide open. I know that shutter speeds 1/25 or below introduces motion artefacts, but i was wondering if there are any negatives when using higher shutter speeds (when shooting Interlace i should add) I was assisting today using the Sony DVW790 shooting 50i, and this is what the camera operator did to get to f1.8, 1/125 was the shutter speed. I've always used ND filters or in camera filters, but I've noticed several operators use the shutter to achieve the same effect as an ND, and wondered if this has any undeserible effects which may only become apparent when broadcast? Cheers Dean
  4. if you can afford a 35mm adaptor (don't use the letus) you would have a lot more choice when pulling focus, isolating the characters or action relevant to the story. it's always a massive effort trying to reduce the depth of field with small chip cameras like the hvx200 (3 x 1/3") especially as you lose a stop at the end of the lens. on the very few occasions i've used the hvx200, i've had a .3ND filter in the kit, and after finding my frame on a mid or close, i've taken a few steps back (begrudgingly) and matched the frame. it's not much, but it just helps to get the background softer than you had it before.
  5. please correct me if i'm wrong people, but pulling focus on the hvx 200 can't be done by marking the lens barrel with focus distances. rotating the focus ring at a very slow speeds doesn't actually adjust the focus, i believe it's the same with the sony hvr z1e, thus your markings will not be accurate. i can't explain the mechanics behind the way these prosumer camera lens work, but on a music promo i shot over 2 years ago on the hvx200, i relied heavily on the focus assist and using the feet/meters function in the lcd display as a rough guide. a hd monitor on set is essential for focus checks with this camera (in my opinion)
  6. hdcam with a 35mm lens adaptor? not that i can really judge on a 13" mac book.
  7. i bet he's on orange?! what format did you shoot this on? the offering of the mobile to the communications mast was very funny well done
  8. here is a link to a video i shot over 2 years ago, as an entry to a competition launched by dj shadow to find a video for his single 'this time'. it was shot on the sony hvr z1e, in cineframe 25 mode, it was de-interlaced in fcp, given a basic tweak with various colour correction options, and submitted. we didn't make the top ten! the actual shoot day was good fun, i shot, a friend directed, and my brother skated. the look was all thanks to 1 lastolite reflector and some amazing 'british autumn sunlight' which we we're very fortunate with, like an extended 'magic hour' any feedback, likes/dislikes would be appreciated, as it's "all a learning curve" thanks dean
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