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Anthony Brooks

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About Anthony Brooks

  • Birthday 09/19/1984

Profile Information

  • Occupation
    Cinematographer
  • Location
    Los Angeles, CA

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  • Website URL
    http://www.machine-b.com
  1. To be quite honest...as a DP, I've always thought that the story (or concept) is the most important thing. This led me to angle myself as a different kind of "swiss army knife" (as I've been called by people). You've got people that DP/Direct or DP/Edit or DP/VFX or DP/Produce...I've done all of them and have survived the entire I've been in Los Angeles. Each experience has enabled me to meet/bond with some of the real movers and shakers of the industry. In my current situation, I am a co-creator of series project on which I also shot the pilot for. Without giving away any info, we'll get the greenlight on the first season soon. To me, in today's world, this is the best combination to be paired with being a DP (business-wise). I can choose to DP it...or not and still be able to earn a living. Again...I think stories/concepts have always been the most important to me and being able to compliment them photographically is something we all love as DPs. But just imagine giving yourself the job instead of always getting the call. It's been a grueling experience, but its well worth it. Some would say that this is a very rare case. I dont think it is. The industry is ever-changing. What does one do when it becomes saturated by low-priced, (arguably) high-quality rigs? The highly skilled DPs that have already established a great name for themselves will be fine. The DPs that have other businesses (rental houses, G&E houses, ) will be ok as well. But what about the highly skilled DPs that don't yet have the means for any of that? They get nifty. I know so many highly favored DPs that are slightly older, have waaaaay more experienced than I, but will be in trouble in the near future if they don't figure out how to survive the change of flow. As far as healthcare is concerned. I literally just got insurance recently. Anthony
  2. I've shot Digital and HD DSLR PLENTY of times...and yes mostly due to budget constraints. My only quarrel with the whole "film is dead" argument is this: I've seen TONS of people (some just merely picking dslr up for fun) just taking the cameras straight out of the box and shooting. And making a ton of money. People that just want to film a birthday party or a sweet sixteen, etc. Good for them if they're able to do it, but at what point do you separate professionals from them. Even though the more skilled and knowledgeable filmmakers know how to maximize 5D and 7D. I've worked with a few (now, big-time directors that shall remain nameless) that have absolutely NO real vision at all, but since they were able to go the nearest camera store, buy a 5D or 7D and shoot (right out of the box) with it. Now the internet and other outlet are cluttered with garbage that we are bombarded with daily just because someone put away a few grand and decided to call themselves a DP the next day. And though I don't always have the budget to shoot on film...I will say that it promotes having an awesome toolbox of knowledge due to the fact that not knowing much can cost you a lot.
  3. You know whats funny. I just got over 8000 feet of short-ends (a lot of full cans) from THE FIGHTER. I too believe that DSLRS are junk. People spend so much money in attempts to make them "LIKE" film cameras, when I'd rather (as a DP) simply just purchase a nice set of PL's and rent a camera of choice. Except for the high-end digital, I dislike the dslr, iphone camera, flip video age. I recently saw the Nokia N8 CELL PHONE rigged to an expensive jib/crane rig. Even as a young filmmaker that type of thing doesn't sit well with me. Vincent, I'm LA based and down to link up if your interested. www.inairfilms.com
  4. @Brian Though I do agree with you about making a blind leap, you also MUST yield a certain mindset and attitude wherever you are. I recently moved to LA in August 2010. I knew 1 person before moving here and he's an actor friend (with obviously NO ties to anyone that could've aided me in my emergence as a Cinematographer. However, since I've been here, I've been getting TONS of work (small $ and large $$$) and now the amount of connections (that I might add aren't only people I've met, but people I've worked with and for since I've been here). I've gotten work from talking to people in coffee shops, ads, networking, etc. There are natural qualities one must possess in life period...that should be merged with whatever filmmaking ability you have and acquire along the way. I've loaded for an AT&T commercial dir. by Chris Robinson, AC'd for Bruce Francis Cole, and am a working editor Milkt Films and Granted Productions. There IS no one way to make it as a DP. I was a film student that moved to LA from Jacksonville, FL with a solid reel, packed up my mustang with everything I could take with me, about $13k put away, and the type of personality that its seems people admire. Slept in my car for less than two weeks so I didn't have to pay for a hotel room while I apartment searched, then found a little loft downtown LA. For me there WAS no other option. There is absolutely NO opportunity for growth as a DP in Jacksonville, FL AT ALL. Since I've been in LA I've learned SOOO much...and I can couple that with the knowledge and experience that I'd already possess = Progression. I went from HAVING to shoot on DSLR and HD (spending TONS of $$ on my own equipment) to working with 35mm, Alexa, RED. Not saying that LA is always the "go to" city, but if you live in a city that I DID, you've got to spread your wing SOMEWHERE. Before, I prided myself in being a hungry, self-taught Cinematographer, Editor...NOW I'm actually able humble myself and gain some of the best experience while making living as a filmmaker. I'm 26 years old and I worked in the mortgage industry for 6 years while in college...so I made off with funding projects and loosing TONS of money teaching myself...NOW I'm able to learn and gain experience while getting paid (whatever the scale) to do so, ALL because I put my ducks in a row and took a realistic leap of faith. But it isn't for everyone and YES there are rough patches...it goes along with any profession. @Sahlil, you're in a much better city for production than I was. There wasn't even a single rental house in Jacksonville (and city has a darn NFL team!!!).
  5. Thank you Michael for the information...and Ulas, I'm pretty much in the same boat as you man. Though I shot a 16mm project once, I'm still a newbie to film cinematography. Best of luck. www.inairfilms.com
  6. I dont use mp4 at all on my site. All of my content is converted to flv. The files are much smaller, yield the same internet viewing quality and play faster. www.inairfilms.com
  7. So much of these conversations end up talking about resolution...years back it was frame rates...heh. Most are only reading numbers that are given to you by the manufacturers when they're the only ones that know FOR SURE. More thought should definitely go into filming quality projects. Because lets be honest, once something hits the internet it gets even harder to tell what was shot with what.
  8. What a question....heh Well...lets see. It's more lightweight (as said above), tapeless workflow (WITHOUT the need of a huge hard drive to mount somewhere on the rig)...obviously if you bought a 5D or 7D, either you're not worried about sound OR you have really good sound people. I mean lets be honest, who professionally uses the on-board sound from ANY camera? I could get into the whole sensor/resolution debate but its pointless. As it stands now, we all (if not film) prefer to shoot RED. Not everyone is at a point where they can just purchase, but renting is fast and easy. If you prefer to own it was definitely better (if you were purchasing a camera a year ago) to buy a 5D and use the best pieces of glass on the market more interchangeably without having to fork over and extra $3k+ for the best lens adapter mods ON TOP OF a $6k+ camera AND MORE for accessories...only to spend more buying or renting the best pieces of glass on the market. You'd might as well finance a RED if you wish to continue buying PRO HD Cameras. The climate is/was/will always be ever-changing...and with innovation comes set-backs with ANY rig you buy. Just have to make smart decisions that are also congruent with what you're able to buy. If you ask me, I'd rent more anyway and let the Rental Houses take the depreciation hit once pieces of equipment fizzles in and out...unless of course you own RED
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