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Jonathon Sendall

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  1. Ha, just to satisfy my "arrived in the post" feeling I got myself an Insta360 One. Great little camera but shall mainly be using for the motorbike but it has got me thinking about what I can do with it story wise in these times.
  2. Here's a few interesting links. First is a webinar about post and production. How useful it's going to be? Who knows. https://dir.nabshowexpress.com/8_0/sessions/session-details.cfm?scheduleid=1815 Protocols for interviews. https://www.productionhub.com/blog/post/safety-guidelines-for-filming-interviews-live-streams-during-the-covid-19-crisis Plus I've attached BECTU working document on protocols. Haven't gone though it yet. Anyway a few to start of with. As to remote working then having a small studio is a totally different situation than working on location of course. I'm just wondering how much of a smart move it's going to be for me. But here's where technology can help. Remote controling the camera for one, while the interviewee etc is in the room. That's just a small example of what can be thought about. JPS Safe Working on Film Shoots Under Limited Covid-19 restrictions v4 24Apr20.pdf
  3. I thought I might start this convo as we might be affected for quite a while on the various elements in the title I've created. There are some documents flying around on best practices with crew and shooting (I'll try and find them and post them here) but I thought I'd start as I'm about to spend some some money on creating a small studio for remote shooting and creating a better quality post suite. POST from another thread when it was suggested I start a new post. "This opens up the idea of remote working which I'm thinking of doing anyway. Part of my business unit can be adapted to doing really good work at table top level but can also shoot head to toe. It's a small studio but doable. I also have an access to a drive in studio only one street away at really good prices. It is large enough to shoot and socially distance at the same time. I've also thought about pushing my edit suite to a better spec, again so that remote working can be achievable. The colour grading screen I can move to the small studio when shooting colour critical work. Thinking of setting up some kind of video access for clients so they can constantly see set ups etc. What I wanted to ask was if people are thinking the same thing? Will remote shooting be a new thing for quite a while? Is this a good business move?"
  4. This opens up the idea of remote working which I'm thinking of doing anyway. Part of my business unit can be adapted to doing really good work at table top level but can also shoot head to toe. It's a small studio but doable. I also have an access to a drive in studio only one street away at really good prices. It is large enough to shoot and socially distance at the same time. I've also thought about pushing my edit suite to a better spec, again so that remote working can be achievable. The colour grading screen I can move to the small studio when shooting colour critical work. Thinking of setting up some kind of video access for clients so they can constantly see set ups etc. What I wanted to ask was if people are thinking the same thing? Will remote shooting be a new thing for quite a while? Is this a good business move?
  5. Whatever happened to the GL Optics conversion of the Otus? That looked interesting and a great price point for what that glass really represents.
  6. I have ordered one and I hope to shoot a test as soon as it's available. I hope to be talking to Kinefinity soon to try and set something up in London with a full studio set and location shoot over two days. Testing real drama situations would be a great way to test this camera plus perhaps a few technical tests as a side bar in the studio shoot. Not sure if this will be a ticketed event or not yet and also how we might do this with social distancing measures at the time of shooting. I'll try and update here as much as possible. Here's our last workshop where we were looking at using a variety of lights in a studio setting for day and night coverage. We were sponsored by Arri, Kino Flo, Dedolight and Rosco.
  7. Hi Jonathon Sendall here. London, UK based. I DP mostly but started to get back into writing. Cheers
  8. Who in the UK is doing the 0%? cheers
  9. Well, I'm just about to buy a fair bit of gear. Somebody please try to convince me it's a dumb idea. I want to hear arguments.
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