Brenton Lee

It kinda makes more sense if you're using an SLR camera with multiple options of shutter speed .. On a sunny day ... ISO 100 film, set the aperture to f/16 and the shutter speed to 1/100 ISO 200 film set the aperture at f/16, set shutter speed to 1/200 ISO 400 film set the aperture at f/16, set shutter speed to 1/400 ... being that you don't have the luxury of exotic shutter speeds, as everyone said ... interpret the "rule" to suit your needs. If you don't like filters, you can modify the light? If you're filming someone sitting the sun, put them under some diffusion to take a few stops of light away? Get creative. I dunno. The easiest thing I found when shooting with filters is learning to understand this chart and especially the ISO side with 'whole' / 'thirds' and adjusting your light meter to suit. http://i0.wp.com/c710720.r20.cf2.rackcdn.com/wp-content/uploads/2011/08/ISO-Shutter-Speeds-Fstops-Copyright-2009-2011-photographyuncapped.gif

That is a very, very interesting article. I was aware of the whole IR thing but had never seen it IRL. Lessons learned, case closed.

Yeah, a pocket. I'll have a good read of that article tonight! Thanks.

Like this example ... was still a very bright day, I think I still had 1.2ND in but because it was overcast it was still easy to get a decent image.

Yeah, I figured its something like that. The way everything is tinged red has really sucked the life out of the color. It sucks though, I've used the ND filters a lot but never on days as sunny / bright as this one.

That iPhone photos was just for reference as the ungraded footage is so far away from what it normally looks like that I think something else is wrong.

sample: There's an iPhone photo at the start for comparison. Is there a point where too much ND can detract from an image? Obviously there's a point where you can underexpose but by my calculations via light meter, i should have been within a stop. At ISO 800, 2pm on a very sunny day it was so bright I had to stack 1.2 + .6 ND's to get the exposure down to about t4 / t5.6. Unfortunately the resulting footage seems underexposed and flat. I normally don't have to tweak the knobs much to get a decent image but this looks too crapped out. One team had bright red shirts, the other black and I can't get them anywhere near their original color again. Any advice or comments?

The sound is only good for a scratch track or recording voice notes (i talk my camera settings into the camera instead of slating, haha)

Well after time lapse on a camera slider. Sometime just a little before awkward gimble work but after millennial neon pink and blue lighting. But also before gratuitous overhead car shots with a drone.

I've had a bunch of AE-1's over the years and love them. One had a slight light leak which gave some shots a cool look, but in the most part they've been flawless. FD lenses are easy to come by too, some like the 50mm are so good.

It probably sounds totally random but also look for side work as a production assistant / runner and also as an extra. My wife literally has no acting skill or "film" skills what so ever but does both and gets on sets of large movies and TV shows quiet a lot and I don't think she started with any connection other than putting her name down to be an extra and ending up on a bunch of e-mail lists from agencies. Once you get that foot in the door just try and move laterally.

Looks good and sound is really great too. Would watch a feature if it existed.

Very much enjoyed this film .... perfect blend of a bent story with very dark humour which is a killer combination to me. However, couldn't find any discussion anywhere about it from a cinematography point of view. I could tell there's a mix of film and digital and lots of visual FX to put Margot Robbie on skates. Only real downside was too much shaky cam on some scenes? Anyone seen any resources about it on the internet?

Hey man I'm in Melbourne also and have Rosco / Lee gel kits as well as some LED lighting if you ever want to meet up and have a lighting jam. I'm away till November though.

That is a pretty darn good deal ... last time I enquired about this package was in February and it was $6k!

Excuse the quick bump but these lenses have to move, get in on what should be a very reasonably priced auction or three. https://www.ebay.com.au/sch/crosstowntrains84/m.html?_nkw=&_armrs=1&_ipg=&_from=

They're all in legitimately good condition, I really tried to find any flaws outside of the usual cosmetic issues like a tiny flake of paint missing or markings fading but couldn't. I've started them low but would definitely like to see them go up a little bit.

Making room to buy some other gear so these lenses are up for sale. Zeiss Distagon 12mm / Zeiss Distagon 25mm / Optar Illumina 50mm PL Mounts 80mm Fronts Focus Gears Good condition https://www.ebay.com.au/sch/crosstowntrains84/m.html?item=192309627205&ssPageName=STRK%3AMESELX%3AIT&rt=nc&_trksid=p2047675.l2562 Can possibly sort out a nice deal for a cinematography.com brethren / sistren.

I can't imagine having the time between takes to fill out a digital report. Maybe its just the projects I end up on but even scribbling down a few details by hand is pushing it. Would like to try it though if anyone posts an interesting one.

Don't think the arm can rest on the film when its in a daylight spool.

By far the worst camera focus accessory of all time.

"It's good for what it is".

Thanks David, I actually came across your website when I was googling the subject! Bookmarked and looking for the time to read back through the archives.

So i got the film re-scanned at Cinelab. A bit better than the previous scan but I'd still love to lose just a bit of the noise / fuzz.

Definitely depends on how you look at it. I am drawn in by peoples struggles, and this movie was one long struggle for multiple characters. I like good dialogue and dramatics as much as the next guys but the tension between a dozen guys getting shot at in a beached boat is equally as story building.