Blog

Motorized Precision and Kira

I started a new company last year and now I can share it with the World.

It’s call Motorized Precision and has a product called Kira. Kira changes the way we work on set and speeds up our workflow and  opens up our minds to just what we can achieve.

Check her out here: Motorized Precision

Kira RED WEAPON

Shooting Film

I have been taking still photos the last few months with Film Cameras. That’s right. Real FILM!

Here is a link to some of the work: Facebook Album.

Enjoy.

Sean

The Giving Tree Short Film

Back in Summer of 2014 I had the magical experience of filming a short film, which was based upon Shel Silverstein’s book,    “The Giving Tree,”

The film is directed by Brian Brose, produced by Chris Buchal, and I was the Cinematographer. Harrisen Howes was AC/Stedicam Opp for a few shots and the film was beautifully color graded by Jordan Snider.  We all came together to bring Shel Silverstein’s book to life with fresh eyes.  It turned out many other talented people shared the same vision and worked on this movie.

We had a great cast of Greg James, Brady James ( his son), Janet Day Brelje, Dennis Fitzpatrick, Jessica Lynn Skinner and David Koshuba.

 

WebThe shoot was completed quickly over the course of a weekend during beautiful Portland summer days. If I recall it was shot on the Red Scarlet with Canon Cinema Primes.  Brian wanted to capture the feeling of being in love, which we discussed as bright beautiful, and flowing with tender grace.  The sparkling eyes of childhood, would pop with saturated colors, and vibrant contrast.

Attached above is a look at the first scene in the movie, when the boy was still young and in love with the Tree. We wanted this scene to be the most vivid color wise in the whole film and really speak to what it feels to be young and in love.

Stay tuned for more scenes from the movie as we gear up towards the release of the short.

Thanks for reading.

Sean

Instagram

You can follow me here.

Review for Shot Pro by Sean D Brown

I want to thank the good people at Shot Pro for allowing me to do this review.

You can find more info about them here. I also want to thank Time and Oak  for this shoot as this was a great chance to plan out a shoot with this app for the review. I will update this blog post with a link to the final video once it’s done.

Enjoy.

WE ARE PDX

I recently shot a video for a company called Time and Oak. It was a fun project working with We are PDX .

Here is a little BTS still of the project.

TimeandOak

BTS photo from WE ARE PDX

Unsplash

Hey Everyone,

Unsplash is a website that posts high res images for people to use for free for projects.

I have posted a few images for people to use on unsplash.

https://unsplash.com/

Or https://unsplash.com/SeanDBrown

Stock footage, Shot on Red Epic 5k Raw.

Hey everyone,

Today I uploaded a few clips to my account at Nimia. All of the footage was shot on the Red Epic or the Red Scarlet in 4k or 5k.

If you find a clip on the site you like and want it in Red Raw in 4k or 5k please let me know and we can set up a special account just for that.

 

Hope you enjoy the footage and I am always open to special requests for stock footage.

 

Sean D Brown

Red Epic X Dragon 6K Raw now in Portland.

My RED Epic MX is now upgraded to #Dragon! The new specs for this camera are listed below. Red Dragon Frame rates are a screen grab photo below.

 

EPIC-M RED DRAGON®
Sensor 19 MEGAPIXEL RED DRAGON®
Pixel Array 6144 (h) x 3160 (v)
S/N Ratio 80 dB
Dynamic Range 16.5+ stops
Max Image Area 6144 (h) x 3160 (v)
Lens Coverage 30.7mm (h) x 15.8mm (v) x 34.5 mm (d)
Acquisition Formats 6K RAW (2:1, 2.4:1)
5K RAW (Full Frame, 2:1, 2.4:1 and Anamorphic 2:1)
4.5K RAW (2.4:1)
4K RAW (16:9, HD, 2:1 and Anamorphic 2:1)
3K RAW (16:9, 2:1 and Anamorphic 2:1)
2K RAW (16:9, 2:1 and Anamorphic 2:1)
1080p RGB (16:9)
720p RGB (16:9)
Project Frame Rates 23.98, 24, 25, 29.97, 47.96, 48, 50, 59.94 fps, all resolutions
Delivery Formats1 4K: DPXTIFF, OpenEXR (REDRAY® via optional encoder)
2K: DPXTIFF, OpenEXR (REDRAY via optional encoder)
1080p RGB 4:2:2, 720p 4:2:2 : Quicktime, JPEG, Avid AAFMXF
1080p 4.2.0, 720p 4:2:0 : H.264, .MP4
Program Output HD-SDI Clean Feed
2K RGB, 1080p RGB or 4:2:2, 720p 4:2:2
SMPTE Timecode, HANC Metadata, 24-bit 48Khz Audio
Monitor Output HD-SDI and HDMI with Frame Guides and Lookaround
2K RGB, 1080p RGB or 4:2:2, 720p RGB or 4:2:2
SMPTE Timecode, HANC Metadata, 24-bit 48Khz Audio
Digital Media REDMAG® 1.8″ SSD: 48GB, 64GB, 128GB, 240GB, 256GB, 512GB
RED MINIMAG®: 512GB
REDCODE™ For a full list of maximum available REDCODEvalues, see the DSMC Media Operation Guide, available at www.red.com/downloads
Audio 2 channel, uncompressed, 24-bit, 48KHz.
Optional 4 channel, and AES/EBU digital audio.
Monitoring Options RED Touch 5.0″ LCD
RED PRO 7″ LCD
RED Touch 7.0″ LCD
RED Touch 9.0″ LCD
BOMB EVF (LCOS) High Definition Viewfinder
BOMB EVF (OLED) High Definition Viewfinder
Remote Control REDLINK Wireless, Ethernet, RS232, GPI Trigger
Weight 5 lbs (Body only)
Construction Aluminum Alloy
Operating Temperature Range 0°C to 40°C (32°F to 104°F)
Storage Temperature Range –20°C to 50˚°C (–4°F to 122°F)

Subaru Japan- Dentsu

This spring I got to travel to Norway and all around Oregon working on a Subaru campaign for the Japanese agency called Dentsu

They cover about 11% of the global marketshare for ad’s.

I wanted to share a few links to the work I shot for them and the Discovery Channel Japan.