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Brenton Lee

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Everything posted by Brenton Lee

  1. Brenton Lee
    Shares thing is a bit of a rip. I ditched it straight away. Honestly, I don't know who comes up with the contents and edits it but you're like 'wow, a tutorial on *subject*' then you watch it and it's like '... that was very underwhelming'. I feel like it really doesn't do his knowledge justice. Save your cash and do a short course at AFTRS in NSW. I think there's a lighting course coming up in november.
  2. Brenton Lee
    I just it just now at the IMAX in Melbourne, Aus. It's pretty funny, we walked out of the theatre and life began to imitate art as the escalator had stopped working and hundreds of people in the foyer had to scramble up the stairs like soldiers escaping a sinking boat.
  3. Brenton Lee
    http://www.google.com/patents/US8251599
  4. Brenton Lee
    There's some videos on a youtube channel by supertechno which are kinda helpful but not overly specific on how they work. Which i totally understand.
  5. Brenton Lee
    I'll probably never end up on a serious production with a modern camera crane so I was wondering if anyone who has, could shed some light on some things for me? 1. What technology or process is involved with the moving rear counterweight to counteract the boom moving in and out? Watching videos, I can see that dynamic reaction is instantaneous, how is that set up or calibrated? 2. What moves the boom / telescoping section in and out? Is it some kind of rack or belt drive? 3. Do most crane heads have a built in stabiliser? Any help is appreciated! I'm struggling to find details youtubes.
  6. Brenton Lee
    .
  7. Brenton Lee
    I'm a new jack so don't totally have my head around using IRE as a 'rule' but if you use the 'zone system' or a rough derivative of it, the 18% grey gives you a good starting point to how your scene is lit. If you held a grey card in the same light as your subject and spot metered it, you know the measurement you get is around the middle of the 'system'. Skin tone / reflectivity can relate back to that ... a darker skin person could be similar, a lighter skin person would be a stop higher etc. As I said, I'm still learning the craft but look forward to any input the more experienced guys have to give.
  8. Brenton Lee
    very lucky the local imax here is ... "reinstalling our original IMAX 1570 Film Projector (alongside the new IMAX Dual 4K Laser system) for the release of DUNKIRK in order to provide viewers with the cinema experience Nolan wishes you to have" Should be a great time
  9. Brenton Lee
    Man Satsuki, thanks so much for your response. I think the film was pretty new, I don't suspect any mistreatment there. It was sent off to be processed within a few days. As far as exposure goes, I went for the normal/correct exposure (taking in to account 85 or ND filters) - didn't rate it for pushing/pulling etc. I got it scanned in Australia but I'm currently on my way back to the USA and am considering getting it scanned elsewhere just for the comparison. Can you recommend anywhere that would do a scan for a humble 400' of film?
  10. Brenton Lee
    I'm currently tinkering with some footage I shot. I don't know much about the digital side of things, but i feel like the footage is just hell grainy or dotty. Grainer than any other samples online of the film I was using. What I'm having trouble discerning is where 'film grain' ends and 'digital dots' starts. I'll include some screen shots, one direct from the flat scan and one in a sad attempt to color it. Arri SR2 Canon 8-64 Zoom 2 gate hairs Kodak Vision 3 200T (some shots with 85 filter, some without) 2.5k Scan that comes as a flat Prores444 file. My question is: What should I expect for clarity/quality from the telecine? Or would you consider this about standard for 200T? Bare in mind these are screen grabs from my computer, its not like youtube has compressed the files already.
  11. Brenton Lee
    As an ex-owner of an SR3 (current owner of a beat up SR2), I can say for sure that the SR3 is the far superior of the two. The Arriglow frame guides are worth their weight in gold when you need them. The digital display and adjustment for frame rates is gold Adjustable shutter is gold. Gold Jerry, Gold.
  12. Brenton Lee
    In this old Vimeo at the 9:20 mark, the photographer uses an 80A filter on 500T, so I guess doubles up on the Tungsten (?). Ends up very blue and very much day-for-night. I can't say I often hear of situations where people have to use daylight film in a tungsten situation.
  13. Brenton Lee
    Hey mate, I've never had to rewind it to unload it. I've always just shot all the film through on to the take up spool? Unless you want to do a double exposure or something for a test?
  14. Brenton Lee
    Man that was awesome Satsuki, thanks for posting that!
  15. Brenton Lee
    Are you like the Beetlejuice of 16mm film Simon? If anyone says '1.37' too many times you show up for a free lecture?
  16. Brenton Lee
    God I miss having an SR3 :unsure:
  17. Brenton Lee
    Sorry for the abhorrently large photo, but one more question: It looks like the ground glass isn't central to the actual .... camera? I loaded some film in and traced out the gate onto the film and it looks perfect in relation to the film plate and magazine so I'm thinking it was a good bit of work modifying it but the ground glass being 'off-centre' seems odd to me. Can anyone think of a reason this would / wouldn't work? I feel like it's central to where regular 16 would be, not super 16.
  18. Brenton Lee
    this site has some good info for you http://www.nanolab.com.au/notches.htm
  19. Brenton Lee
    Hi, I put this up on eBay. This camera is super nice and works great. http://www.ebay.com.au/itm/BOLEX-EBM-SUPER-16mm-Camera-Package-w-Angenieux-Lens-/292099423624?hash=item44027b7d88:g:4FIAAOSwtZJY-ZB6 Comes with c-mount and canon FD mount adaptors, a cable to connect to a power supply and a few other bits and pieces. Item is in Australia but can post in the US in June for free. Brenton.
  20. Brenton Lee
    Jack, I'm very interested in buying one but I don't think I'll have the funds by the time the crowd fund ends. What are your plans to sell them down the track? Will the public be able to buy one?
  21. Brenton Lee
    Extend your fluid head / tripod out, cantilever it off the right height ladder then use a bit of accessory cord to manipulate the fluid head up or down. Just make sure you sandbag the ladder.
  22. Brenton Lee
    Man, I'd spend $500 on a second hand BMPCC from eBay, then spend $9500 on glass and accessories.
  23. Brenton Lee
    Hello! I'm trying to bring an old SR2 (supposedly with a professional S16 modification) back to life but I'm stuck on what's going on with the viewing screen here. It's got an SR3 screen installed with regular 1.37 markings, but it also has two horizontal dark areas on the top and bottom and I'm wondering if any of you more experienced guys would recognise them as any other aspect? Would it work out to be the viewable area of another aspect ratio? I will move forward with this and shoot a chart or something to see if it actually works but would it be a better idea of invest in a proper SR3 1.66 screen? Thanks!
  24. Brenton Lee
    Even though I don't have "good" gear, I calculated that on average I am rolling around with $5000-$8000 worth of equipment at any one time, sometimes it's all in one camera assistant bag. Whether its in the back of a car, travelling internationally etc I'm kinda paranoid it's going to go walkabout. I was toying with the idea of keeping a tracking device in it - has anyone got any experience with this or can recommend any particular product? Also - I am aware insurance exists but I'd rather avoid the pain in the butt that is filing a claim and then buying all my stolen goods back on eBay.
  25. Brenton Lee
    This has been a most enlightening thread. Make sure you remember to send the elevator back down when you get to the top, haha.
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