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Brett Allbritton

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About Brett Allbritton

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  • Location
    Tallahassee, FL
  • My Gear
    Canon 60D, Blackmagic Pocket Cinema Camera

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  1. Point taken. I was actually thinking about this after I posted and regretted using the word "obsolete;" it's much stronger than what I meant. I was really just anticipating responses from the point of view that film is outdated and we should all move on. As for 4:3, I happen to really like it and appreciate when modern films use it. Too many young filmmakers seem to think that in order to look "filmic" you need to put Cinemascope letterbox bars on everything, so it's refreshing when I see aspect ratio being recognized as a creative tool. It's strange to say but I find myself occasionally
  2. I work in TV, so when it comes to 16mm I'm just an enthusiast, and all of my 16mm footage so far has been on my Krasnogorsk-3, which has served me well. Having said that, I would like to eventually shoot some more ambitious projects on film (requiring sound, longer takes, etc), but unfortunately the closest place I could rent a film camera from is about five hours away. Because of this, I occasionally find myself browsing eBay for cameras, and often Regular 16 cameras such as Arri SRs, Aatons, or CP-16s are available. I can't help but wonder how worthwhile buying a Regular 16 camera is th
  3. Hey everyone, I'm looking for old, expired 400' rolls of 16mm that I can use to practice loading. I'm planning to start shooting 16mm more seriously and don't want to have to worry about potentially wasting brand new film while I familiarize myself with the process. Thanks!
  4. To bolster David's point, alongside their political bias they also tend to publish factually inaccurate material: https://mediabiasfactcheck.com/daily-mail/ Other than that though, I'm going to stay of out of this as I lack the knowledge, experience, and especially eloquence to speak any further.
  5. So a solution came to mind, but I really don't know if it would work in practice. The idea is to have rods come from my 15mm LWS baseplate, attach them to the LWS part at the top of a Studio to LWS Adaptor, then run some short rods out from the bottom Studio part and attach the matte box to those. Basically, the adaptor and matte box would hang from the LWS rods coming from my baseplate. My intuition tells me that professionals will find this needlessly complicated, but I figured it was at least worth consideration. My other concern is whether that would put some unnecessary strain o
  6. Hey everybody, I'm trying to find a matte box to use for an upcoming project (whenever that might be considering this pandemic), and in the process I was offered an old Super16 camera matte box for 15mm Studio rods at a good price. I've seen brackets available that allow you to use a 15mm LWS matte box on 19mm and 15mm Studio rods, but I'm curious if there are any options to use a 15mm Studio matte box with 15mm LWS rods. I imagine this is possible even with the offset, but I wouldn't know. Should I pass?
  7. Thanks, Dom! I figured I was probably being overprotective, but you never know.
  8. Hey everyone, I'm currently taking part in a 100 ft of film project and have an issue. I'm very close to the end of my roll and have to get a few pick up shots tomorrow. The problem is my Krasnogorsk is still somewhat wound up and if I allow it to wind down it will use up the last of my film. Will it damage the spring to leave it wound for 24 hours? The manual says to not store it unless it's completely wound down, but is this just for long term storage? Has anyone left their Krasnogorsk wound up for this long without issue before? I'm worried I have to choose between finishing the challenge o
  9. Thanks, guys. With that in mind I'll likely overexpose a bit to be safe. I don't think anything is scratched or fogged, the camera and lens seem to be in really great condition. It's one of the later models (it actually says "Krasnogorsk-3" instead of using the Russian alphabet interestingly enough) and I even sent it to Bernie O'Doherty at Super 16 Inc shortly after getting it to remove the loop formers and check everything out for me. Granted, I am somewhat guessing that it's losing a full stop, I didn't use a grey card for this test because I was really looking at sharpness. Perha
  10. Hey everyone, I'm getting ready for a film challenge where our entire short will be made on a single 100 ft reel of Kodak 7219 and shot on a Krasnogorsk-3. In preparation for the shoot I decided to do a lens test with the stock Meteor 5-1 lens on my original Blackmagic Pocket Camera. Surprisingly though, my footage all seemed to be about a stop under exposed. I know that the aperture of a lens doesn't always let in as much light as it should and that T-stops are supposed to correct for this, right? So is this the case here? Have those of you that use the Krasnogorsk-3 encountere
  11. Hey everybody, I'm in the process of putting together a shoulder rig and thought it might be interesting to hear different tips and perspectives on building and using a shoulder mount. I'm curious about things like shoulder mounts where the camera sits in front of the face versus on the shoulder, rosette handles, balancing, shooting techniques, and anything else you think might be helpful or perhaps not so obvious to those of us with less experience. Thanks!
  12. Thanks, Phil! It was a pretty tricky space. This was actually made for a single-take film contest. I guess our approach probably was a bit odd. I think most people tried to do much more impressive long takes whereas we just shot an argument, but after the director had the idea for this she was really attached to making it happen. To be honest, there were times I was a bit frustrated and kind of wished we did it more conventionally, but I guess it served as an interesting experiment and the actors seemed to be really into it.
  13. Hey guys, It has been almost a year, but finally my director made the short film I was referring to in this thread public on Vimeo. I thought I might post it here so you can see how it came out, I'd love to hear any feedback you might have. Thanks again for your help!
  14. Hey everybody, I'm considering investing in a 12mm cine lens for my BMPCC and while browsing I've come across the Kowa Prominar Micro Four Thirds lenses. They don't have geared focus rings, but do feature both F-stops and T-stops interestingly enough. Does anybody have experience with these lenses? All the footage and photos I've seen from them are quite lovely, but would they really be worth the extra money I might spend on them versus, say, a Rokinon or SLR Magic cine lens?
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