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Brett Allbritton

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About Brett Allbritton

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

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  1. 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.
  2. 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 on the system. Like I said, I'm not sure if this would work in practice.
  3. 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?
  4. Thanks, Dom! I figured I was probably being overprotective, but you never know.
  5. 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 or breaking my camera.
  6. 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. Perhaps I should redo it with a grey card. My big fear is that maybe my light meter is wrong, but it seemed to work fine when I used it with another camera and lens.
  7. 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 encountered this problem? Does this mean that when shooting I should meter for 250 instead 500 to get proper exposure? Any thoughts?
  8. 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!
  9. 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.
  10. 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!
  11. 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?
  12. Hey, thanks, Bruce. I wasn't didn't know that Resolve isn't .icc profile aware, which muddies things a bit. I do have access to an i1 Display Pro at work that I might be able to calibrate my home monitor with while working on this project, but unfortunately, in this case, I am on a PC. I'll definitely take a look at DisplayCal. The editor hasn't finished working on the film yet, so maybe I have a little bit of time to study beforehand.
  13. Thanks, Frank. The Resolve Certification materials are especially interesting, I'm definitely going to look into that! I'll tell her I can do it then. I figured that would be the case, but having never owned a 4K monitor and not being a pro level colorist I wasn't sure if there was something I might be unaware of. So out of curiosity then, what benefits does a 4K monitor offer specifically in terms of color grading?
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