Its not just you – Tim from Minds Eye Films is definitely looking like he has been on a vacation somewhere with a lot of sun. But in fact, Tim’s tanned skin is actually a result of days of working in an idyllic location – on water!
And not just any body of water. Tim has been shooting on Sydney’s iconic harbour and the pristine Pittwater for two exciting projects for two separate clients. Minds Eye enjoys the challenges that come with tackling a new location, and shooting on a 50-foot game fishing boat and a 60-foot yacht certainly presents some unique ones!
Continue reading “Working on water”
Forget the Oscars, the world premiere of the new Hi-5 movie “Some Kind of Wonderful” with director of photography extraordinaire Tim Bradley. I shot on my new revolutionary Red Epic camera. It’s in good company, Red Epic was also used to shoot Hitchcock, The Great Gatsby, The Hobbit and Mental. Looking forward to walking the purple carpet – think Hi 5 colours 🙂
The Fantastic crew was – sound by Martin Harrington, additional cameras Brigham Edgar, Dean Ginsburg and Directed by Jim Hare.
The Film and TV industry is forever changing, but of late I have been getting a lot more stills work and stills portraiture work. It seems while companies are holding off making Video communications they are still spending on good old stills photography.
I have been having great fun shooting with the new Pocket Wizard remote flash triggers. I have the new MiniTT1 and 3 FlexTT5s as well as the AC3 flash zone controller. These are great, they have great range and are the most advanced flash triggers out today. They offer the ability to shoot well above the traditional flash sync speed – normally 1/200 or 1/250 of a second. In fact you can go all the way to 1/8000 of second, offering amazing shooting options and allowing smaller flash heads to be used to over power ambient light. This also allows you to shoot flash outdoors in full sun and work with a very shallow depth of field. The AC3 zone controller is a great time saver. You can adjust the flash power from on top of your camera in up to three zones meaning no more running back to your light to adjust the power up or down.
Another reason I enjoy the change of stills work is I can take a mile less gear. For a portrait shoot I can fit all I need into 1 Backpack and 1 Stand/tripod bag. Mind you I have the backpack jammed full. I normally carry a Canon 5D, 24-70 zoom, 70-200 zoom, Pocket Wizards, three Canon Speedlites, umbrellas, softboxes, stands and reflectors.
Another great feature is the my Canon 5D can connect to my iPad allowing a lovely way of reviewing shots.
Stills are a great change and keep the creative juices going!
For more about Tim Bradley
Well NAB the huge TV gear / software show in Vegas has opened with lots of new gear announcements. Red has announced an upgrade to the only still very new Epic camera. The upgrade is a new sensor that will be available from the end of this year. The new sensor will have a higher resolution (increase from 5K to 6K) smaller pixels (for finer detail) and increased dymanic range ( from 13.5 stops to 15 stops) Red also announced a lot of other new accessories see red.com
Black magic has entered the camera market with an odd looking camera. This I see as an interesting move for a software company to move to making cameras.
Sony have brought out 3 new lowish cost large sensor cameras – great to have choices, but we have too many for some post houses to keep up.
Canon has announced a new camera, the C500. This would make me very unhappy if I had just purchased the C300 as that is now outdated. This must be one the fastest cameras to ever become outdated as they have only just hit the market about 3months ago.
So all in all there are today a heap of new options for production and post. Its exciting times !!
Check out this video. Its a camera test of six cameras, Alexa, RED MX, 35, F3, Canon D1 and 16 side by side. Its a great test because they have shot the same short film with each of the six cameras under varied lighting conditions.
See if you can pick which camera shot which version. At the end it lets you know which short was shot on which camera.
The Cameras used –
Sony PMW F3 (was an engineering sample)
Aaton XTR PROD (Super 16)
Cooke S4’s were used except for the 1D, which had CP’s
This test was done by John Brawley. John has racked up an impressive and diverse range of credits working extensively in the United States, Europe and Asia. You can go to John’s web site and find out more about him.