Writer/director Kate Dennis and Dop John Brawley shot six shorts with six available light locations on six different cameras. Ross Mitchell, post-production manager at Deluxe helped them in this adventure. This is their story.
John Brawley: Kate and I were working together on the first series of Offspring. We had some night exteriors to shoot in the backstreets of Fitzroy, and we were both amazed at how bright the street lighting looked when shooting the Red Mx camera using fast prime lenses. Kate has a film in development and she was concerned about how to shoot on the streets of Paris using only existing or available light. In the context of a wider discussion I’d been having with her about the differences between both film and digital acquisition, I thought it would be really interesting to test them all.
Kate Dennis: Being ex-camera department, I had...
John Brawley: Kate and I were working together on the first series of Offspring. We had some night exteriors to shoot in the backstreets of Fitzroy, and we were both amazed at how bright the street lighting looked when shooting the Red Mx camera using fast prime lenses. Kate has a film in development and she was concerned about how to shoot on the streets of Paris using only existing or available light. In the context of a wider discussion I’d been having with her about the differences between both film and digital acquisition, I thought it would be really interesting to test them all.
Kate Dennis: Being ex-camera department, I had...
- 6/29/2011
- by Colin Delaney
- Encore Magazine
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