Brett Graybill

I've recently been asked to budget a 1.5 million dollar feature for my camera department, grip department, and electric department. Even though I'm still waiting on a treatment and a final script, the production would like general numbers to help with their investors. I've worked with the director in the past so I know the basic style but the task of budgeting seems too great and vague to breakdown. To those that have worked on budgets of this size or greater, how do you break down the math in advance? I assume there is a general percentage of a shooting budget that typically is given to the camera, grip, and electric, right?

Hi everyone I've recently installed Davinci Resolve 9 and I'm hitting a wall. I have footage filmed in 5k anamorphic on 2x anamorphic lenses that I've uploaded to Davinci Resolve 9. In the program I've changed the settings from "square pixel" to "cinemascope", which desqueezes the footage in Resolve. However, when I go to export the footage as Proress 422 HQ it still appears unsqueezed. I'm up for all suggestions at the moment. Thanks, BG

Hi everyone

I've recently installed Davinci Resolve 9 and I'm hitting a wall.

I have footage filmed in 5k anamorphic on 2x anamorphic lenses that I've uploaded to Davinci Resolve 9. In the program I've changed the settings from "square pixel" to "cinemascope", which desqueezes the footage in Resolve. However, when I go to export the footage as Proress 422 HQ it still appears unsqueezed. I'm up for all suggestions at the moment.

Thanks,

BG

Hi everyone,

Very soon I'll be shooting a western short in the desert, mostly with HMI's, ultra bounce, and unbleached mus. My question to everyone is, will the warm color of the sand lower the overall color temperature of my daylight. I know we conventionally rate "daylight" between 5200k & 5600k. Right now I'm a thinking that the HMI's will appear too cool for day exteriors. Maybe the smartest thing to do is work with 4x4 mirrors and simplify things? Also, I'm contemplating using kerosene lamps and small tungsten units on flicker boxes for interiors. If anyone has experience shooting in the desert, specifically westerns, I would love to hear how they created their looks.

Hitchcock's Shadow of a Doubt

Hi everyone,

I'm a senior in film school and want to market myself the best I can as a DP. Please view my website and reel and respond with critical feedback. Thanks!

brettgraybill.com

Hi everyone.

I'm currently planning for a short film this summer and was wondering if anyone had mixed spherical and anamorphic lenses before on a project. If it's possible I would like to use it as a motif in the film. We will likely shoot on the Epic and crop the spherically lensed shots to 2.35.1 if we go through with the lens motif. I understand that each type of lens will obviously alter the rendition of space and depth.. I should note that I'm not totally opposed to changing the aspect ratio throughout the film. I though The Life of Pi was a beautiful exercise in aspect ratio. Please reply with any thoughts or concerns

Brett Graybill

I recently had a similar issue facing aerials. How do I shoot within budget and maintain a stable image? I was freaking out, then a DP told me he knew two DP's who went down in aerial shoots! In my paranoia I found someone with a paraplane and went up for a test. The results were pretty decent on a DSLR and a heavy shoulder rig. If you need long takes or fast traveling shots then I wouldn't recommend it, but it can fly as low as 10ft and high as 15,000+ (on the cheap).