James Brown

I think you did a good job - problem is straight simple performance based clips are hard to keep the audience interested when the artist isn't engaging. If only the 7d could fix everything. > Regards James.

Hi, I shot something recently with Blacklight (F35) and the amount of light you need or "exposure" is almost unfathomable (obviously i didn't realise this). A double 4ft Batton needed to be about 1/2 a foot away and the 400W stage lights we had were also quite limiting - direct at the talent from a couple of feet away. Great for CU's - would hate to be doing a bunch of wide shots. Works really well with the white teeth and eyes - grab some fluoro paint and dabble it on things you want to pick out - but as John said - good its digital so you can actually see what you're working with. Regards, James

Finally got my website up last week and would love to hear what you think. WWW.JLBCINE.COM Cheers, James.

1/2 is obviosely a thicker fabric so you get a softer look but also with the stop loss. Depends on the condition. Why dont you use some dingle to break up the harsh sun - some big ass tree branches or camo nets on highboys. Grid is a diffusion so dont use this. Use a 12x12 ultra bounce and on the cheap side get a big roll of bleached muslin to put on the ground. It's all by eye - take some foam core, muslin and some diffusion, a bunch of stands and some dingle and see what the conditions offer up on the day.

Hey Tom, Thanks heaps - you rock..... Cheers, James.

I have and it looks like a great cheap alternative to the "film" products out there. Thanks for all the responses. Regards, James.

Hi, I want to do a time lapse of a Sunrise panning across a city and then tilting into the sky. Does anyone have some examples of work or gear that they have used in the past. Format will be REDONE, or if it can be achieved with a CANON 5D and intercut maybe the CANON. I understand it can be achieved in a low fi way with a geared head (our shot will probably be over a 1.5 hour period) or a motion control unit (probably out of the budget). But is there setups you can hire for an O'Conner or does it have to be a modified head specifically for time lapse. Thanks in advance. Regards, James.

Hi, I agree with the above comments. More often then not it is a "style over substance thingo" but to answer your question there is one in a Short Film "Violet" that i operated on. I have sent you the link, i think it works extremely well. Regards, James

Thanks for your time Richard, Appreciated.

Thanks David and Richard. You're right with the Lanterns - heaps better idea. Still not sure about the Prac lights in shot though.......Is there anyone that has made controllable Halide fixtures???? Magic is still gripping away in Melbourne and Penny is probably off lifting the biggest lamp he can find......Great guys. Regards, James

Hi, I have an upcoming film with a prominent greeny/blue look throughout. I'm looking to fit Mercury vapor 1K clear bulbs into china hats to have in shot as a pseudo street light. Has anyone does this? Understandably i need custom fitted hats but wondering the best way of approaching it? Also looking for fit the same type of bulbs into China Lanterns for some soft bluey/green edges - best way of achieving this? Thanks in advance- Regards, James........

Hi, I bought a Lens Baby after watching Kaminski's 'Diving Bell' and thought it would be the best thing in the world. I used it for about one or two months all the time but then it just became too cumbersome. It was a lens, like any tool, that has it's specific job for a specific look and for the reasonably low price it's worth it for your toolbox. You will never travel with it - it's really hard and so many adapters to shoot something (fixed focal with a wide and telephoto and macro), manual aperture input makes it difficult to shoot quickly and the fear of losing these key objects is kinda scary. You can get some beautiful images IN CAMERA rather then trying to achieve it in POST. Have Fun. Regards, James.

Hi, As said before Tungsten into a gold reflector works the best fort this. Otherwise, ? 102 Light Amber ? 765 Lee Yellow ? 009 Pale Amber Gold All depends on how gold you want it to feel. Regards,

Different cars will have different strength headlamps so the best way to do this is pre-cut a piece of .3 .6 & .9 ND for each set of lights. Regards, James

Thats stupid, there are so many countries where English is the "official language" but heaps of people don't have fluency. As far as bad shoots go i think there should be a category of "no budget student shoots at night". They suck and all have similar stories.

He came to Melbourne for a forum last year and after about an hour of carrying on he still hadn't said anything informative or interesting. On artistic merits i absolutely adore him (Paranoid Park & Fallen Angels being my favorites) but professional he is not. Outside and inside the film world he would have to be one of the most known cinematographers and this is attributed not only to his work but his off set antics. Creatively he is up there with the very best and if he keeps producing this caliber of work he gets a small waiver.

Q&A with Dean Semler recently he said that by the end of most nights he was ending up with a 360 degree shutter on Apocalypto.

I talked to Arri yesterday trying to chase up some lights and as we got talking they told me not to put 500W bulbs in Mizars. I have pretty much only put 500W bulbs in Mizars and never had trouble with the heat....any opinions? James

I'm not one that needs my ego fulfilled by seeing a little blurred name in the bottom of the screen BUT my point is that if you let TV stations walk all over the unions on issues like this it just paves the way for them to take more and more rights off the crew... This is the first station in Australia to do it and i guarantee by the end of the year the other two commercial stations will scrap them. Then the Execs look to each other "now how can we save more money or more time" and things start disappearing. Its all in principle.

Its pretty much the same here. The credits roll but they are squeezed to the side and in ultra fast forward to fit in next weeks teaser to the exact time frame..... It should be a right (as it is with cast) to have a crew credit.

Attached is a link to an article published in "The Australian" last Thursday Click Me! Regards, James Brown.

Wow, looks fantastic. Anyone know any tech specs? Weird how such big names attached (above the line wise) and is only getting a limited and late release. James.

Hi, Ill be there from Wednesday through to Saturday night. Really looking forward to something that is indeed very rare in Australia. Master Classes with David Gribble and Andrew Lesnie......What more could one ask for in a week. Regards, James.

I would like to believe it's similar to the way Eduardo Serra represented it in Girl with a pearl earing That beautiful soft light pouring in as she opens the blinds will stay with me forever. Cheers, James

Hi, If all you want is a moonlight wash a 1.2 par gelled with say 1/4 Warmth will give you a stylistic blue moonlight and is a lot less cumbersome that 6 1k's. Less lights means less things to go wrong, less gels, less stands, less shotbags and so on. For the spread i wouldn't go anything smaller than and 8x8. Is a 2.5 Par out of the budget? James