Jump to content

Bradley Credit

Basic Member
  • Content Count

  • Joined

  • Last visited

About Bradley Credit

  • Rank

  • Birthday 05/28/1997

Profile Information

  • Occupation
  • Location
    New York

Contact Methods

  • Website URL

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Interesting! I think this may be the article here. Definitely an intriguing creative choice to experiment with.
  2. This was a GREAT read, AJ. Thank you so much for sharing.
  3. I feel a lot of this was achieved in the grade but definitely think he'd have had to shoot for it on the day. Camera was Alexa Mini.
  4. Cinematographer Isiah Donte Lee shot this commercial and I loved how down the levels are. I reached out to a friend to ask how to achieve this sort of look, and in addition to knocking down a lot of level outside and choosing the right time of day, he mentioned that the DP rated the camera at 2500 ISO and did what is called "dynamic range remapping". I've looked online but haven't found any resources explaining what this is, so I was curious to see if anyone here has some answers and resources to point me towards for more information to deep dive into?
  5. So I’ve been shooting on the BMPCC 4K for the last couple months, my first proper cinema camera that I’ve owned. Each project I’ve shot with Blackmagic’s RAW setting which obviously means massive file sizes. I’m planning on playing with ProRes 422 to test on some shoots but was wondering: how much of a difference is there really between the two? I understand that RAW gives you more ability with things like highlight recovery, changing color temps and ISO in post, etc. But assuming you’re exposing correctly on the day and intentionally shooting with a particular WB, how big of a difference
  6. Big thanks for this! I’m looking to get a similarly sized source to the one pictured.
  7. Also, do you think a similarly desired effect could be achieved with a Kino Freestyle 31, or a Litepanel Gemini 2x1?
  8. Thanks for this! 2 meters might not be long enough as I do want a shot orbiting around the artist as he performs. I’ll look into those other 2 lights you suggested though.
  9. Thanks for this AJ! I do have choice of location to an extent but with the budget as tight as it is we’ve essentially locked in on the space that was in the treatment. I’m not deadset on the Skypanel, so I’ll definitely look into the sputniks. Would one still be powerful enough to punch through a layer of diffusion so the source is relatively soft?
  10. Hey everyone. For the first time so far in my career I’ve got the opportunity to DP something with some budget. It’s still a comparatively low budget music video but it does give me some room to be a bit more ambitious. I want to do a top light that can change color throughout the take (want to be able to cycle through colors on a wireless DMX board). The idea I have is similar to the picture below, and I’m thinking of doing a Skypanel S30 on a Menace Arm, but have also thought of a Litemat due to the Skypanel’s weight. The light would also have a grid and duvateen so that it’s a single shaft
  11. Hey everyone, been poking around on Shotdeck lately. I came across these stills from Bradford Young's gorgeous work on Mother of George and was wondering how to get a similar color effect? I've seen this coolish grey look on dark black skin a few times recently and thinks it accents that skin tone beautifully. Is the key to this using a soft daylight-balanced source and setting the camera's white balance to something around like 4300K?
  • Create New...