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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
  1. 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.
  2. 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!
  3. 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?
  4. 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.
  5. 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?
  6. Hey everyone, This might be a question that exposes my ignorance, but recently I was asked if I could grade a 30 minute documentary for someone. I happen to do a lot of color correction for my job as well as just for fun when I want to mess around in Resolve, so I was confident that I could do what the director was asking for (she said she wants it to look true to life, so mostly just primary corrections it sounds like). Then she told me that the footage was V-Log 4K shot on the Panasonic EVA1 and asked if I have a 4K monitor, which I don't. What I do have is an IPS 1920x1200 monitor, specifically a ProArt ASUS PA248Q, and a ColorMunki. I have graded C100, FS5ii, GH4, and even downscaled RED footage on this monitor with good results, but because she specifically asked if my monitor is 4K, I'm beginning to wonder if maybe my monitor wouldn't be accurate enough for her project. As far as I know, the only problems I would have are judging sharpness and noise, but as far as color goes it should be fairly accurate regardless of my monitor's resolution as long as I calibrate properly, right? Or is there something I'm missing here? I'd love to help with her project, but I also don't want to waste her time. What do you guys think?
  7. Hey everyone. I just bought a used original BMPCC, but need to acquire cards for it. Apparently, SanDisk has updated their Extreme Pro Cards and the new version isn't compatible with the camera, so I'm scrambling trying to find the old version. Even internet sellers who have it listed as the old version turn out to be selling the new ones. If anyone is willing to part with a 64GB or 128GB card that they've successfully used with the BMPCC or has the product prefix SDSDXP, please let me know.
  8. I agree about the flat look, I was having a hard time getting more contrast with the china balls. Tonight I'm going to try putting some black paper on the side of the china ball I'm using for fill and get it off the wall a bit. Bruce, what kind of LED lights do you suggest? I might be able to borrow some battery powered video lights from a friend that I can gel.
  9. Hey, thanks for the responses, guys. We ended up going with Chinese lanterns after some experimentation, the director even liked the idea of using one as a practical. Unfortunately the space is so limited I can't follow the actors with one. As for the wall color, the walls are fortunately already a warm tone. Now that I've had a chance to do some tests and get back to this post, I thought I would share the stills I took and get your thoughts (you'll notice the C-stand, just disregard that, I wasn't sure quite where I wanted the China ball it was holding to be yet. Also disregard the mess on the bed...) I'm a bit ambivalent, I kept having a battle with myself of whether to add fill or take it away. In particular I worry that in the shots where she is standing by the bed and sitting down (IMG_3222 and 3225) might be a bit too flat or dark. One thing we agreed on was to put up a few more decorations on the wall so that it doesn't look as boring. One thing I know I'll try is putting some black wrap on the lanterns like Giacomo suggested in order to minimize some of the spill, and I also want to treat the practicals with either ND or Streaks n Tips on the bulbs to take down the blown out look a bit. Does anyone have any critiques or advice for what I have so far? http://s1376.photobucket.com/user/brettz92/slideshow/Flags%20Test%20Stills Password: 123abc
  10. Hey everybody, I have a short film shoot coming up soon that's becoming quite a challenge. I've attached a rough floor plan for reference. Hopefully, soon I'll be able to go in and get actual measurements of the room. Basically, the scene is about a couple in their bedroom at night. The director wants a warm, somewhat dim look. The scene from Sicario when Jon Bernthal's character attacks Emily Blunt comes to mind, though far less of a silhouette. We'll be doing some tests later this week and possibly rearranging some furniture, but this is what I know so far: The scene must be done in one continuous take, meaning I will have to follow the actors as they move around the room from the vantage point of the camera near the corner. At various times throughout the scene, the actors will need to be at the mirror, the closet (it's a long closet with sliding doors. I'll be getting a profile shot of one of the actors looking into it at the spot I currently have them pictured at here), and going out into the hallway. With so much of the room being shot, and with the room being fairly cramped, I'm very worried about how I'm going to be able to light it and yet still manage to hide everything from the camera. My current idea is to rig up a wall spreader with two diffused lights (I'm thinking two 420w Peppers) aimed in the direction of my actors to imitate the glow of the lamps behind them. Then I'll set up a light in the closet to provide a little bit of fill, thus suggesting another practical source within the closet, but I'm honestly not sure how good this will look, hence why I'm planning to do some tests later this week. I feel like this is going to be pretty challenging, so I'd be very thankful to hear whatever thoughts or advice you guys might have.
  11. I have an adapter made by RAF Camera that seems to have been specifically designed for using that lens on Micro Four Thirds cameras. It's longer than a typical adapter so that the end of it doesn't hit the sensor, and I've used it to put the lens on a GH4 without any issues. I've also seen footage from a Blackmagic Pocket Camera using it. The only issue is that, as already noted, the lens doesn't fully cover the sensor, though at longer focal lengths the vignetting is much more subtle. It's at least something fun to play around with, or if you don't mind cropping the image to look like 16mm. I actually saw a short film shot with a Blackmagic that cropped the image to 1.33:1 and just went with the 16mm look. Search for "RAF Camera M42x1 lens to MFT" and you'll find it.
  12. Hey everybody. Coming up this week I'm going to be shooing a commercial for a company that makes granite table tops and was hoping to get some thoughts on how to light it. The idea is that we'll be shooting overhead looking down as we see hands on the counter doing different day to day tasks. For example, we will start with one counter top as we see a hand throw some keys on the counter, cut to a different one as we see someone else's hands preparing food, then another as we see the hands of a kid playing with a toy car, and so forth. I'm curious as to how some of you guys might tackle lighting this. I'm imagining high key, soft lighting. Obviously I can't use a soft overhead source because my camera will be in the way, and I'm a bit concerned about distracting reflections on the counter top. I have a few Arri fresnels, Lowel Pro's, Omni's, and a Tota available to use. At the moment, I'm thinking along he lines of shooting a 650 Fresnel through some kind of diffusion to the side, maybe even a book light, but I'd love to hear your suggestions. Thanks!
  13. I actually have a 2K just like the one you posted a picture of. I got it for free from the TV station I work at. It was laying around in the back of the studio, unused for years, so our engineer didn't mind just giving it to me. I thought I'd clean it up but have yet to do so, and it doesn't have a bulb in it so I can't test it. Honestly I've been thinking about getting rid of it ever since I learned that there is asbestos in it.
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