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Bradley Credit

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About Bradley Credit

  • Birthday 05/28/1997

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  • Occupation
    Cinematographer
  • Location
    New York

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  • Website URL
    www.bradleycredit.com

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  1. Hello all, I have a music video coming up where we plan to shoot outside in a wooded area, and we want to get the affect of fog blowing through the background. Our budget is tight and crew is small so we can't get anything too expensive or heavy to lug around. I was wondering if you all might have some recommendations for fog machines that are relatively affordable to rent, as well as any tips you might have for making the most of the effect! I use haze machines often however only on interior shoots so this will be my first time trying to create atmosphere in an exterior so any advice will be greatly appreciated. Thanks!
  2. Interesting! I think this may be the article here. Definitely an intriguing creative choice to experiment with.
  3. This was a GREAT read, AJ. Thank you so much for sharing.
  4. 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.
  5. 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?
  6. 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 does it really make? ProRes would likely make for an easier post workflow due to file sizes, but I’m curious to hear your thoughts.
  7. Big thanks for this! I’m looking to get a similarly sized source to the one pictured.
  8. Also, do you think a similarly desired effect could be achieved with a Kino Freestyle 31, or a Litepanel Gemini 2x1?
  9. 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.
  10. 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?
  11. 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 of light and doesn’t spill into the background (which would be completely dark). Am I on the right track to achieving this, or what are your suggestions as far as to how I can pull this look off?
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