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Ryan Brown

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About Ryan Brown

  • Birthday 10/01/1979

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    Los Angeles
  1. I do a lot of narrative, but I've recently been contacted by a large reality production company and they may want to bring me on to DP one or more of their shows. I generally shoot RED, Alexa, and Canon (5d to C300). The company produces numerous shows that all air on TV (20+ shows). What camera systems are generally used in this setting these days? Are we talking HDX900's or something? I realize this is a broad question and I'm sure many cams are used, but there must be a "norm", yes? Or a few of the most popular cams used? Cheers Any more info on a typical workflow from reality ops/dp's would be helpful.
  2. EX1's over RED? Can you explain why you'd choose that?
  3. Not a lot of luck finding 2/3" cams and operators. I'm now leaning towards shooting 3 RED's for this. Is that crazy? I see people are using RED's for live stuff here and there (mumford and sons concert, lady gaga and tony bennett, etc). I was hesitant just because I usually shoot RED with music videos and commercials, but the workflow seems like a bit much for a concert. Maybe if we shoot something like 2k at 7:1 I'll be able to keep a relatively high quality and not be burning through mags? I did get an offer for 3 EX1's, but for the same price I can shoot RED and the quality is quite a difference. The only thing the ex series has is a servo, which would be nice. Any thoughts?
  4. Hmm, yeah, that makes sense, thanks for the response. But now my question is: what is a 2/3" camera that's common enough where I could find three owner/operators. Or would a 3 chip be better than say a c300 for this? I could always go the HVX or similar route
  5. I've got a live concert shoot coming up, 3 cam shoot, 2 cams on cranes, inside venue that seats roughly 2000 people. I'm not sure what cameras are usually used in this scenario... any help here? What's the norm, or is there one? ENG style? I plan on hiring owner/operators for two cams, and renting the third and operating that one myself. My initial thought was C300's all around, but I'm thinking 4k delivery may be something the client wants. I know we need good low light, long lens, and large media storage (or a good compression codec) so we're not constantly switching out cards. Budget is somewhere around the 500 mark for each camera/operator. Cheers
  6. Hey guys, Can anyone send me any info or a template on their DP contracts and agreements? I'm going to have my lawyer go over things first, and I realize every contract will be different, but I wanted to get some info before I sign this paperwork sitting in front of me. I'd love to have something to compare it too. Some info: 1-2M budget feature, money is coming from a fairly large production studio here in Los Angeles. I do not have an agent or manager at this point, and I'm non union. I've shot smaller features in the past and was comfortable with the contracts, but this is a pretty big step up for me and I don't want these studio exec's to eat me alive, so I'm trying to gain more knowledge on the paperwork side of things before signing. Any and all info would be greatly appreciated. I'll be taking everything to a lawyer next week. cheers -ryan
  7. I've got a client almost ready to pull the trigger on a budgeted short. He wants me to send him an example(s) of how I'm seeing the cinematography. Long synopsis short: Intense drama; a few innocent children are being held captive in a shack/barn/warehouse. Bad guys enter periodically. I'm trying to very quickly put together a lookbook, essentially. What I'm looking for: Short films, scenes, pictures of light pouring in through windows in said location (barn/shack/warehouse). Dark and moody, but not horror. Here's two examples I quickly found. Does anyone know of any short films that have similar scenes? First is the protagonist, second would be the kids. Again, this is just the first I found quickly that sort of resembles what I'm after. Thanks for any and all help on this.
  8. Excellent advice all around. Love the "foam roll" and idea about changing shoes. Just the type of stuff I was after when posting this thread. Freya, I'll watch it as soon as I get a chance. Nico: Thanks for taking the time to respond, much appreciated and valuable stuff that will for sure help me out. Appreciate all the responses and I feel much better prepared. Any more idea's, bring 'em on -ryan
  9. Gregory: I've got a 1st I fully trust to handle the job. He's young, but surprises me constantly. If he sticks with it, I think he's heading towards a great career. Congrats on all the success, by the way Matthew: It's a stylistic choice that I also agree the story calls for. cheers
  10. Hey Chris, we're either on epic dragon or scarlet x. I think the defy wouldn't cut it with weight, and even though I haven't used one, the ergonomics makes me wonder how long someone could shoot on those types of rigs before the forearms give out. Hope all is well man! Stuart, great advice and pretty much along the lines of what's already in the gameplan. I've had issue's with the bartech also, so I'll be looking to change it up on this one and the preston seems to be what I'm looking for. If I can remind myself to pass off camera and not let it sit on my shoulder when it's not necessary, I think I'll be OK. I wrap the feature I'm on next weekend, and I'll be hitting the gym pretty hard as well as continuing running and biking. I've also got a stretching regime I'm thinking of throwing in the mix... I pulled a muscle last week on my current shoot and since I haven't given it time to heal it's just getting progressively worse. Love the tennis ball idea... I've heard about that in the past but forgotten all about it.
  11. Going into production on a 22 day feature in a couple of months. It's an indie drama with a gritty story, and the director wants it 100% handheld. I'm in pretty good shape, but the thought of this is daunting. Any advice out there? I'm looking into the "easyrig" systems and would love any feedback on this and other similar setups. I'm also looking into a wireless FF for my 1st, and possibly a transmitter so I'm not tethered for village.
  12. Ha, I know right. My idea for that (so far) is to gel a similar color scheme onto all the backgrounds...
  13. I've been asked to submit a proposal as potential DP on a new 1 hour doc style TV show in the style of "VH1 behind the music". Interviews with various celebs intercut with footage of their careers, that type of thing. It will be aired on cable television as it's first outlet. It's a pretty big opportunity for me, so I'm looking for ideas that I may not have thought of The director wants me to send him a few ideas I have on the look, what camera to shoot on, what lights we'd need and why. Some info: We'll be a small crew and we need to stay as portable as possible, as there will be a lot of travel involved. Most of my job wold be camera/lighting of the interview portions of the show, along with some B-roll etc. I'm assuming because of busy scheduling, a few of the interviews won't give me a lot of setup time, but I will have a small team with me. The director does not want to use a backdrop, but he wants some sort of uniform look for all the interviews. From the work I've done with him previously, I know he likes very shallow DOF. I already have my ideas of what I'd shoot on and everything else I need, but I don't want to influence this thread yet, so I'd like to hear what you guys come up with. I'm hoping to hear some fresh ideas that I've overlooked or haven't even thought of. Need to submit in two days, so any and all advice and opinions are welcome! cheers
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