Jonathan Bryant

Looks slick. I loved your continuous steadicam music video too.

I am selling a Sony EX1 with only 75 hours on Ebay right now. Included in the package is a hard case, two batteries, two 8 gig SXS cards, a remote, and a B+W UV filter. I work full time for a TV network now, so I don't need the camera anymore. Maybe it will be the perfect package for you or someone you know. Check it out with this link -> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=120516497422

Here is a higher res video that besides the color smearing is pretty impressive. http://www.usa.canon.com/dlc/controller?ac...ticleTypeID=225

Take a look at these videos http://www.slashgear.com/canon-eos-5d-mark...-clips-1716575/ The squirrel clip is very sharp and lifelike. And I love the thought of using a 85mm L for video. What do you guys think? I already have a lot of nice Canon lenses but I am curious if this outputs live video to HDMI so you can pull focus, and I am curious if you can manual adjust the iris,etc...

What do you guys think of Scarlet. Though it is a different animal it, stuff like this is making me second guess my EX1 purchase.

http://imaging.nikon.com/products/imaging/...d90/en/d-movie/ For only $1000 how do you think this would do as HD camera? The only major drawback I have seen so far is that it blacks out the viewfinder in movie mode, so you are left with the lcd though you could mark you focus pulls.

I have a client that wants shots of talent spinning then stopping only to find themselves in another set of clothes. Is there better ways to get this effect than just locking the camera down and doing dissolves between the spins? I would like to shoot this on a white sync but I don't know if I can convince them to do that.

Nice stuff. Looks like it was a fun shoot throwing tomatoes.

I have had trouble recently in rooms with huge glass aquariums, dark mahogany wood with a thick coat of polyurethane,etc.. It seems like the best solution is lighting with a large source then flaging it alot, then maybe use a few fresnels to fill in or draw attention to elements. I have also been in huge stores with a mix of warm fluorescents, vapor, halogen, and etc.. that I have no control over whatsoever. These areas can be 50 feet by 100 feet and I need a a lot more lighting power that I have now. I am working with mostly 1k tungsten fresnels and Totas which have no control but you can fit alot of them on a plane. I am looking at grabbing a few 2k Altman Soft Lites. Thanks for your suggestions.

What are some of the fundamentals of lighting for architecture rather than people?

What is the color temperature of the blueish Mercury Vapor lights found in most big box stores? And what CTB gel recipe is needed to match tungsten lights to them?

Thanks a million! That is perfect, just the moonlight look I am going for. Is there another gel that is closer to your timed image? What HMI fixtures did you use? I am wondering if I should use two 1.2k fresnels now or just one 2.5 . If I had two HMIs I could light the background separate. I read some people use pars for more light too. I will have a 35 foot bucket truck to get the light up high. What other lights did you add in to mix besides the HMI?

Any suggestions on how to light a night exterior in the country? I recently got talked into being the dp on a zombie film. This will be my first attempt at this genre, I am excited because we have a big budget effects and makeup company on board. Since most of the scenes takes place outside the house which is in the country I figure the moonlight would be the most common light source. I have always used 1/2 ctb on tungsten sources for small scenes. The director wants to move fast and to keep tweaking to a minimum so I am thinking of renting a 2.5k HMI Fresnel put it on a high c-stand or scissor lift and gel it with a 1/2 cto and maybe a 1/8th plus green to light the 20x20 space next to the house. I will use a few Arri 650 fresnels to make a few pools of light coming from the garage and windows. I would like to use a hazer to fog the woods alittle bit but would probably have to light the fog from behind to get much effect. I was also thinking a china ball or small kinoflo would be nice for the shots needing fill. Here is a video that is close to the look I am trying to capture>

I have a shoot in Boston the second week of August. We are looking to hire one person with a portable greenscreen, Kinoflos, Fresnels, and 2 soft boxes. We will have the camera and audio gear. Anyone interested please email me at jonathan@provisiontv.com.

Looks good. Did you go to Toccoa Falls college ? I saw a kid in your video wearing a TFC shirt. I used to live in Toccoa and worked at the CBS affiliate there about 4 years ago.

I am in Athens and if I am free those days I would love to pop in to see you guys in action.

You guys have a stunning reel. I really like the morphing zoom on the city shot and the shot of the girl in the car with warm moving light patterns. Also the moon timelapse was a strong shot. Was all that shot with the HD100 JVC and Nikon Primes? Keep it up

This is my new demo reel in progress http://www.provisiontv.com/Demo%20Reel.html. Any feedback showing the strong and the weak points would be greatly appreciated. Just keep in mind most of my stuff is corporate or broadcast video.

What do you guys think about these heads? I have a guy that is looking to sell some of his gear and he has a old 50d. I would use it with my Sony DSR00 camera.

http://www.kitashton.com/video.htm This is Kodak 7218, but what lens did they use? Check out the behind the scenes pics and let me know so I can pick it up. I figured out this guy did it http://www.perezproductions.co.uk/perez.html pretty impressive work if you ask me with his given tools.

So hardly anyone uses a undiffused Fresnel as a keylight these days? What situations would you use a Fresnel as a key light? What is the most popular way of lighting low key scenes?

Come on guys can someone get this thread started? I think it would be interesting to see how people use Fresnels as keylights in their setups.

My understanding the whole show was shot with the Panasonic SDX900 in 24p DVCPRO 50 mode. Maybe the title sequence was film. Some shots at the houses have china balls or additional lighting but since it is a reality tv show some shots are just run and gun. I think it is cool how they gave a reality tv show a film look. My sister didn't think it was reality tv by the filmlike images. I wonder how they get permission to shot in all those snooty parts of California.

I can't access anything accept 110v 20amp circuits. Someone needs to build a box where you can take regular 110v 20amp circuits and combine them into say a 240v plug for large lights. It is not the most important shots for the project either. I plan on lighting from the ground on C stands. We would buy maybe a 1-2k solution but if we decided on an HMi or something more expensive we would rent. We will have access to a lift and a camera jib. I might go for an low key look having the key light drop off and light the background with splashes of Fresnels. Thanks for the recommendations!

Fabric softner sheets work great. Just make sure I get credit for this secret :)