Posts Tagged ‘#videographer

23
Mar
16

Something slightly different-Sunlight

Sunlight

sunlight1.jpg

I don’t know about the rest of you, but everyone here at Pixipixel is well and truly over winter. Short cold and dull days are not exactly the stuff of great photographs or location shoots are they? This has however given me an idea……….

As a departure from my normal rambling “Kit Of The Week” blogs I’m going to try something a little different, more along the lines of a how to guide, and what better place to start than how to recreate sunlight?

So please don’t take this the wrong way, I know many of you will be well versed in this but you never know you may pick something up even if it’s only a nice tan.

Firstly a small bit of Brucie theory:

Sunlight (I’m talking about a bright blue sky sort of sunlight not an overcast miserable day) is a hard light. You can see this if you look at your shadow on a bright day, it will be well defined with hard edges and a high contrast between it and the surrounding ground, in fact often exactly what we try and avoid as image makers. So why is this?

 

Ok, so back to photography basics for a moment, a hard light is produced by a small light source like the sun!

Yes I know the Sun is big (1392000 km across ish) but it is also a long way away, so to us it appears fairly small in the sky. This would be different if we stood on Mercury, but we aren’t so stop being awkward.

Now with the light source being small and far away the light rays that “hit” us are reasonably parallel to each other and this is what gives us the hard edged, high contrast shadows that we associate with summertime. With me so far?

 

So it makes sense that to recreate sunlight we either need to find a massive flaming orb and install it at the center of our solar system and pray for a break in the clouds or use a small light source in the studio itself. I know which option is easier, but exactly which light source should we use?

 

Now up until this point I’ve been thinking in general terms but obviously you moving image types are going to need a continuous light, whereas us stills guys can use flash or continuous. This is no big deal because we have numerous options for everyone.

 

Starting with us stills guys and looking at flash lighting we have a couple of options. Firstly and most simply a bare head will work fine, provided it is positioned at a reasonable distance from the subject. The trouble with this is that the light rays will be scattered causing a more diffused effect and also any stray light will bounce around the studio, becoming unwanted ambient light and further softening the effect. A small reflector or even a snoot will greatly help with this, however a purpose built modifier will yield much better results.

 

Both Profoto and Broncolor produce Fresnel lensed attachments for their lights and these help to bring those pesky light rays under control and more parallel to each other creating a beam of hard light (much the same as a lighthouse). This is a great starting point and works very well. The Broncolor attachment is called a “Flooter” and the Profoto version is the “Fresnel Spot”.  Both are fairly large so will need to be positioned at a distance from the subject. Very small versions are available such as the Broncolor Picolite Fresnel Spot Attachment but they are best used for tabletop macro sort of work, also we don’t carry them at the moment, so best you forget I ever mentioned them.

 

profres.jpgbronpico.jpg

 

 

 

 

 

 

Happily this Fresnel approach works well, but it can be done better and both the big names in flash have specific light shapers for this, they are radically different to each other but both work superbly.

 

Profoto have the “Hard Box” this is essentially a T shaped tube with the flash head inserted into the bottom, it decreases the size of the light source and eliminates unwanted stray light giving a light rich in contrast and very similar to sunlight.

prohard.jpg

Broncolor have gone down a different path with their “Satellite” reflector. It’s a highly polished disc reflector into which a standard head is fired this reflector concentrates the light giving the daylight effect, it’s a bit like burning ants with a magnifying glass back in the schoolyard and must not be left in the back of a car on a bright day (I learnt that one the hard way myself).

bronsatt.jpg

Both the Profoto and Broncolor solutions work better if the flash heads protection glass is replaced with a special purpose one. Just to confuse us the Profoto frosted dome should be replaced with a clear one and the Broncolor clear dome should be replaced with a frosted one!!

breisepara.jpg

The next method to consider is the use of a parabolic reflector, now these “Para” reflectors are designed to bring those light rays parallel again and do a far better job than a spherical reflector, I won’t go into detail why but it’s all to do with internal angles of reflection and is also probably why rugby is a better game than football!!!

Briese make a really magnificent version specifically designed for the recreation of sunlight, it produces a spectacular fresnel like light that is also very enveloping and it can be used with flash or continuous lights.

sphericalvparabolic.jpg

See how I made the move from flash to continuous so smoothly…….. I think that’s called a segway. I’m getting the hang of this I think??

 

Ok so you moving image people have been very patient with me again, thanking you, now it’s your turn.

 

Nothing changes as far as light modifying is concerned between flash and continuous, I am pleased to say so all that stuff about a small light source with parallel rays of light giving a hard light is still correct.

You can use numerous lights to give you the “sunlight” look. Traditionally an 18k hmi Fresnel has been the go to fixture for film crews looking to recreate sunlight but with recent improvements to lights we no longer always require so much power. A good alternative is the Arri max 12K or the Arri m90 9k both of which have the unique MAX reflector giving a light quality similar to a fresnel but without the lens.
maxref.jpg

With the extra power delivered by the Arri Max range of lights you can afford to use diffusion to “take the edge off” so for an exterior shoot often an 18k or 12k unit will be used with a 9k through a scrim (1/2 stop) as a fill. In studio the smaller Arri M series units often will be employed and Kino’s or LED’s used to fill in.

The Alpha 18K K5600 is another very powerful light that could be employed to recreate daylight/sunlight, with its clear front it will give a slightly less hard light than a Fresnel but it comes with a Fresnel lens too if you need to harden up a bit so it gives you some options.

 

It’s worth mentioning at this point that despite recent improvements to cameras 18k is still the goto strength required to override sunlight, yes the Arri max range will give you the equivalent oomph at a slightly lower power rating but the sun is the sun and its not getting any duller just because the chaps at Arri are getting smarter. Film crews use 18k for one very important reason, clouds, if they appear and you don’t want to hear “cut” then you need the power of 18K to keep shooting. From what I understand this is not going to change no matter what improvements are made to cameras, well not until the sun goes super nova anyway and I think we will be safe from that for a couple of years yet.

 

Now one last thing to consider is the good old inverse square rule (remember that) it states that the strength of a light is inversely proportional to the square of the distance from its source. Now when you think about the Sun itself, it is so large and so far away from us that any exposure drop over say the length of a room is negligible, therefore a larger light positioned further away is going to give you more consistent light levels across your set than say a smaller one positioned closer. Now I don’t think I am contradicting myself as a large light positioned at a greater distance becomes a “smaller” light source just like the sun and hence retains the hard light characteristics.

tattoo.jpg

(I had to include this pic as it proves the inverse square law can also apply to people’s intelligence in relation to the distance from a tattooist shop.)

 

Ok so that’s how to recreate sunlight, easy eh it’s all about recreating the same characteristics in your light that would be present in real sunlight and in a studio when you don’t have real sunlight to work with it’s an extremely useful thing to be able to do, but once outside in the real sunlight is it a redundant skill, does it still have a use? Well to the uninitiated you would think that bright sunlight at lunchtime on a nice day would be about as good a light as you could get and it certainly is hard, high in contrast and powerful but that doesn’t really help us as photographers does it.

 

Bright sunshine is (somewhat counter-intuitively) not great for us image-makers. The high contrast nature of this light can cause us problems with tonal range and correctly exposing our subject and the background at the same time. Think about a beach scene on a bright summers day, you want to take a nice picture of the kids running out of the surf so you grab your snapper and shoot only to find that.

You have a beautiful blue sky and silhouettes for children or nicely exposed children and a washed out sky. “Damn it I spent a small fortune on this camera and  I can’t even get a snap of the kids!”

So how do we get round this problem?

Simple, you overpower the sun!

Now you can stop short of creating a small fusion reaction in your speedos to do this, as the sun is surprisingly easy to overpower (well for us stills guys it is anyway).

 

Essentially all we need to do is to meter for the background exposure and then add in some fill flash to light our subject. This flash needs to have the same characteristics as the sun to keep the feel, but we know how to do that now don’t we? Using flash for this is easy as we don’t actually need a particularly powerful flash, we as stills people only have to overcome the sun for a fraction of a second and flash equipment is good at that, it has the ability to push out large amounts of power (light) for very short amounts of time.

 

For you filmmakers however it’s a different story, yes the theory of exposing for the background and then filling the subject is the same but you need this light on for the full duration of each frame and for the entire shot. Therefore you need a lot more punch to do the same thing as us stills guys, traditionally an 18k Fresnel or similar is used for this (try running that off 4 AA’s) oh and if the kids are running any distance you’re going to need more than one to “keep them in sunlight”.

 

At this point I realize how lucky I am to be a stills guy, it puts me in mind of watching the odd orchestra walk through the green channel back in my former life, I always wondered if the double bass player was jealous of the flautist at airports.

 

That’s all folks,  let’s make this year’s summer brighter than last year by everyone using artificial lighting lots n lots. Perhaps we can bluff the sun into shining a bit more!!!!

Now before I go, the shrewd folks amongst you are probably jumping up and down screaming what about colour temperature but that’s something for a future blog I think as it’s a subject all on its own and depends a lot on what sort of sunlight you are simulating, be it midday or evening and so on I’ll get back to you on that.

Likewise if you are trying to recreate a diffused sunlight (overcast) look then we need a chat about scrims and so on, again that’s for another day.

 

I hope you all learnt something if only how to brighten up a miserable English “spring” day, or how to avoid work by reading a verbose and slightly silly blog?

Cheers for your time…… Now get back to work!

 

Merry Lighting BB

16
Mar
16

KOTW Anton Bauer Cine Batteries

Anton Bauer Cine Batteries

Well I’ve been given easier tasks, “do a blog about the new Anton Bauer Cine batteries”. I’m not complaining about doing a blog, or for that matter the rather nice new batteries from the folks at Anton Bauer, but how am I meant to make a battery sound fresh and exciting eh?

anton bauer batteries.jpg

Batteries are one of those things that we need on almost every job but they are often the last thing you think of, sure your DOP often has a favourite camera and specific lens in mind when we get the list to quote on, but more often than not we get a line on the list saying something like “and batteries to suit” or “and 6 batteries”. I have a feeling that once the Cine batteries from Anton Bauer start to make an appearance on your jobs we will start to get specific requests for them.

 

So why would you want these over another battery system?

 

Well for a few reasons actually, firstly and I have to say it’s about time, the new Cine batteries have a large LCD display on each battery showing exactly what percentage of power is available, so a quick glance into the bag and you know exactly how much oomph you have left. I wish all batteries had this feature as I’ve lost count of the number of AA’s I’ve binned that probably had some life left in them or the amount of times I grab my go pro to find its flat because the Wi-Fi button got pressed in my bag and my “charged” spare is flat as a lizard drinking.

 

batts2.jpg

This same display changes from percentage readout to remaining time readout in minutes and seconds once you connect it to something.

 

Now talking about connecting they come in either V mount or the Anton Bauer gold mount, we have opted for V Lock here. For ease of operation they also all sport a PowerTap connector to power auxiliary accessories like monitors etc.

 

The other advantage with these new batteries is the reduced footprint making these smaller than the normal offerings from Anton Bauer and hence ideally suited for Arri Alexa mini or the Dragon Weapon or for remote operation on stabilizer rigs, drones and so on.

 

I guess that battery safety is also a big thing at the moment, especially after a Christmas full of exploding hover boards eh. Well Anton Bauer has made some real efforts to make these batteries as safe as can be. They incorporate “fuse link” technology that protects surrounding cells from “catastrophic damage” should anything go wrong. Numerous sensors within the battery line ensure optimal battery performance. These sensors check temperature and over-current states.

 

So if you are in the market for 12 amps of serious 14.4 volt power in either 90 or 150 WH then look no further than the new Cine system from Anton Bauer and to find them. Well as with all the best new equipment you know where to find it, right here at Pixipixel.

 

Now one thing that really impresses me regarding these batteries is that they are backwards compatible, meaning that they will work with our (and your) existing Anton Bauer chargers. This is, in my book a demonstration of great customer service and support and I wish more companies would work like this.

 

Well that’s it folks, sorry I couldn’t make these batteries any more exciting for you, if you want excitement from a battery then put your tongue across the terminals but other than that just enjoy the fact that you don’t have to think about them too much.

Ok so to the all-important BCR. Well they gained points for that wonderfully useful display and their cool look but mostly for the compatibility with existing chargers so I think an 8/10 is a pretty good score especially for a BATTERY!

 

 

Specifications:

 

90WH

Watt Hour 90 WH

Size 11.86 x 9.75 x 10.19 cm

Weight 1.04 kgs

Voltage 14.4 volts

 

150WH

Watt Hour 150 WH

Size 11.86 x 9.75 x 10.72 cm

Weight 1.22 kg

Voltage 14.4 volts

11
Mar
16

KOTW-Red Weapon

Red Weapon

weapon1.jpg

I must admit to enjoying the names that Red gives to its cameras, we have had a few now, the One, the Scarlet, the Raven, the Rocket, the Epic and the Dragon to name a few, but today I want to talk about the Weapon.

 

I’ve been “googling” Red this morning, trying to find out some tech specs and so on about the Weapon and its made for some interesting reading. For example I had no idea that Red were founded by Jim Jannard, who formally founded Oakley (the sunglasses people). Now when you Google the Red Weapon all you can find is the announcement of the latest 8K version but more on that when our one arrives, for today I will waffle on about the 6K version that are sat here ready and waiting for you.

 

So 6K eh, seems like only yesterday that the buzz word was 2K it makes me wonder when its going to stop, I don’t know about you but I don’t think my eyes are 6K ready and my TV certainly isn’t. But I’m not criticizing this progress, far from it, the more the merrier as far as I am concerned but are we approaching a point where camera resolution is better than our own ability to see it? Perhaps someone more technically minded can answer that one.

 

So accepting that we NEED 6k is one thing, shooting it and handling the data this produces is quite another and this is where Red have gone and done it again with the superb Weapon.

 

As we have come to expect Red have produced yet another revolutionary camera with the Weapon and the 6K headline is really only a small part of the story.

weapon 2.jpg

 

The Weapon (of mass resolution) has more to offer than just the big bag of pixels, it’s got some other rather nice features that should make it a pleasure to use.

Firstly with all those extra pixels causing an increase in the amount of data produced red have re designed the media slot allowing for lightning fast write speeds of up to 300MB/s to Red mini mags. This is a necessity when you consider that the Weapon can shoot 6K motion and Stills at up to 100 FPS.

 

Whilst I am talking data how about 1D and 3D LUT output and simultaneous recording in both Redcode Raw and Apple Pro Res. With support for Avid-DNHR and Avid DNHD also soon to be available it think you could say Red has that side of things covered.

 

A new intelligent OLPF system (optical low pass filter) provides excellent rendition of tone and colour even in dim conditions and this helps to preserve colour quality across mid-tones, darks and shadows, Red have even introduced a cam lock feature making it easy to change OLPF units to customize footage. These OPLF units “communicate” directly to the “Brain” due to integrated circuitry within the Weapon itself. This built in circuitry also includes the interchangeable I/O expanders allowing for you to configure the system specifically for your purpose whilst avoiding those pesky leads.

Interchangeable lens mounts, lemo adaptors and expanders and built in stereo microphones all add to the flexibility of this camera and who wouldn’t want wireless connectivity to Android and IOS devices. Start stop buttons are also now integrated into both the top and outrigger handles, which makes sense.

 

Lastly the brain infrastructure has been re designed (I wish I could do the same with mine!!) to improve low light sensor performance and provide automatic black shade calibration.

 

Ok I will admit here that I had no idea what black shade calibration is, so if you are as much in the dark as me……..

Black Shade Calibration means:- The brain measures the pattern of fixed noise coming from the sensor and the subtracts it from all subsequent frames leaving only random noise behind, its like a map of the noise, now that’s so very clever isn’t it?

 

So that’s about all I am going to bore you with I think its probably best that you just come in and take our weapon away for the weekend to experience all the above for yourself. It is an amazing bit of kit and I know you won’t be disappointed. As far as coolness is concerned well it’s an 11/10 from me, this thing is as cool as a polar bears backside and has a great name to boot!

 

Cheers all BB (in need of a Red Weapon T-shirt I think!!!)

 

Tech specs are available on the Red website here.

Red Weapon Tech Spec

03
Feb
16

KOTW Arri / Transvideo Starlite HD5

KOTW-Arri / Transvideo Starlite HD5

starliteHD5

 

Today I would like to share with you a very simple recipe for success.

 

Take one part Arri and one part Transvideo, combine and allow to simmer slowly over a low heat until something tasty appears. That’s it, easy peasy lemon squeezy eh!

 

Well that’s the exact recipe which has produced todays piece of kit, it’s a gourmet offering that should appeal to all and you wont be needing any cutlery for it either because you can use your fingers!

 

I think it must be getting on for dinner time, as I’m obsessing about food again, sorry if I am making you hungry!!

 

So the dish in question is a small monitor called the Starlite 5HD Arri and is very basically the same as Transvideo’s existing Starlite HD5 Monitor that has been very popular since its release, however now that Arri has joined Transvideo in the kitchen it’s got a few extra ingredients. That’s about the end of my culinary similes, I promise but this little screen really is something to feast your eyes on. (Groan …sorry!!!)

 

For those of you not familiar with the original HD5 monitor let me wet your appetite. Firstly and rather unsurprisingly it’s a High Definition 5 inch monitor screen, so it’s about the size of your smart phone but has an advantage over your phone because it never ever rings. It has numerous high-end features including waveform, vectorscope and histogram displays. Power is provided via a mini Lemo2 connector and it will accept DC voltages of anything from 5 – 44 volts. Inputs of HD-SDI and 3G are catered for and the whole unit weighs in at 190g so it won’t ruin you new years resolution to loose weight. (If in fact you are one of the few that are still sticking to your new years resolution???)

StarliteHD5-ARRI_0.png

Happily all these features are still available on the new “Arri” version but a healthy pinch of Arri all spice has been added sometime in the cooking process. It now acts as a control for your Alexa mini or Amira allowing for a much more user-friendly interface between you and the camera.

Transvideo say that it is:

“A new concept of human interface” and it “uses the power of the touch screen panel and rids the user of incomprehensible and endless tiered menus.”

The last time I saw an endless and incomprehensible menu was in a Vietnamese restaurant in Melbourne (I ended up eating chicken feet of all things).

 

So that in itself is a great feature, particularly thinking of the Alexa mini and its remote operation possibilities on cranes etc etc…..

 

But wait that’s not everything! Do you have room for desert? I hope so, because the chefs from Arri and Transvideo have included one last sweet treat. Onboard H.264 recording for the days rushes to SD cards,  Now that’s tasty!

 

 

The whole thing is incased in a rugged aviation grade aluminum body so its nice and robust as you would expect from the master chefs who created it.

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Now as I seem to have gone down the food line on this one I will change from my normal BCR (Brucie coolness rating) and on this occasion award the Starlite HD5 Arri one Michelin star.

 

Bon appétit  folks

 

BB

08
Jan
16

KOTW- Maxi Brute

Sonos this morning has been a bit more Brucie friendly than normal!!

I’ve been enjoying some classic Simon and Garfunkel, a bit of Fleetwood Mac and even one of my favorite Acca Dacca tracks (to use the Australian name, AC DC to the rest of the world). Its reminded me of my misspent youth hurling bottles of pee around at Donington Monsters of Rock Festival and generally trying to destroy as many brain cells as possible by over indulging in rhythmic head shaking, beer drinking!!! lol, those were the days.

donnigton.jpg

Thinking back to those gigs, I was always impressed by the wall of Marshall speakers and the fantastic lighting shows. Back then I did the lighting for school plays and the like but we never had more than a handful of par cans to play with so it wasn’t really very exciting, but the big bands had the budget and the lights to impress. I didn’t know what the particular lights were called and if someone had told me to look at the maxi brutes I would have been searching for a large bottle of dodgy aftershave (Well it was one better than Hai Karate anyway, splash it all over Mr Cooper).

mr cooper.jpg

So this leads me to a Rock inspired kit of the week and just like good rock music, good lights stand the test of time and the Maxi Brutes can almost be considered as a classic.

rock out.jpg

Ok, so these Maxi Brute lights are actually slightly different to the stage lighting equivalent but essentially they are much the same being. An array of par fittings sporting 6,8,9,12 or 24 bulbs in the one unit.

maxi brute.jpg

 

A few companies make versions of this light and you may hear them referred to as Fey lights or a molepars and so on. They are all much the same.

We stock units from Filmgear.

So the Brutes all take bulbs much the same as Par cans and as such are easy to replace and swap over for different characteristics i.e. spot, flood and so on. The Maxi Brutes take PAR64 1000w bulbs and a smaller version called the Mini Brute also exists and takes smaller 650w bulbs.

 

Generally these lights are used for lighting large areas in film and television productions, or as a backlight or house light (at rock concerts if nothing else). They are valued due to the punch (power) and the throw (distance) that they output. This means that less units are required to light large areas. The bulbs are arranged into a grid and each column of that grid can be angled out to increase the spread of light or angled in to increase the power.

Individual bulbs can be switched on and off to vary the power (or talk to the aliens like in Close Encounters Contact Bank perhaps)

contact

The brutes have always been popular due to them being an economical piece of kit. Producing large amounts of light for small amounts of money, Well, when compared to HMI’s, MSR’s etc etc

maxi brute1.jpg

 

One small issue with using this sort of light array, is that it can produce multiple shadows but this can be controlled by using diffusion gel like Hampshire frost, this will unify the individual bulbs into one light but it will have a negative effect on the power and throw so it’s a bit of a trade off, be aware however that these units can reach temperatures of around 200 deg C so keep the gels at least 1.5 m away.

At some distances this multiple shadow can be a benefit by helping to soften otherwise hard shadows.

Some people like to mix the bulbs in the fitting i.e. have some narrow and some medium bulbs in the one unit at the same time, this can create different effects that may be useful.

 

I guess that the biggest thing to watch for when thinking about using one of these units is the power supply needed, now I’m not trying to teach anyone to suck eggs but a 24 light maxi brute has 24 x 1000w bulbs so its not going to run off a 13amp plug in your front room. Even the 6 light Mini Brute pulls over 16 amps so has a 32-amp lead. But don’t worry about any of that because we will go through it all with you when you hire one.

Now I do think these are cool lights, they look industrial and follow the adage that “the more the merrier” I even like the name “Brutes” and that of course reminds me of another favorite film of mine by Mel Brooks, Blazing Saddles and this scene right at the end ”you brute!!”

blazzing saddles.jpg

As far as the Brucie coolness rating goes, I think I will award one point per bulb so the 24 light version gets an outrageous 24/10 and so on.

Cheers Folks BB

Oh and have some links to save me from typing all the tech specs out, as I’m still slightly jaded from the New Year Eve’s indulgences!

Specifications on PDF via the lovely peeps at film gear – links below:

www.filmgear.net

Maxibrute 6

maxibrute 9

Maxibrute 12

Maxibrute 24

 

16
Dec
15

Day 6 of Brucie Bloggers Christmas Wish List

elf-in-a-box-lg

 

Day six sees us enter my top five wants on the list, this is stuff I really want from here on so get your wallets out 😉 Staying on my theme of LED’s but not a panel this time it’s a LED version of the classic Dedo lights and they are great, so good in fact that they look like giant bumble bees!

 

5          Dedo Dled 4

 

Dedo Dled 4

Ok so I cracked a few cheep jokes with this being a German company, but let’s face it the Germans certainly know how to make excellent kit.

The Dedo lights are unique in operation with twin lenses that allow for an excellent zoom – spot adjustment and a clean consistent beam and now they have become LED so no heat to worry about.

They feel and look great too.

 

dedolight_dled4.1_three_light_kit

 

 

And not forgetting today’s jumper!!!! Who’da thought I could top yesterday’s eh!!

Just a note in case someone has confused the jumpers with the Christmas wish list, I Really Really don’t want a jumper this Christmas!

2 xmas jumper.jpg

 

Nearly there peeps anyone guess whats at the top of my list yet?

 

BB

15
Dec
15

Day 5 of Brucie Bloggers Christmas Wish List

So day 5 is here and that takes me almost half-way through my list so things may start to get bigger and more expensive from here on. I’ve plumped for something brand new and exciting on the market today its LED again but bigger and sexier than yesterday and that’s got to be good.

disney-mickey-christmas-clipart-bc1c4a5dc06bb807bc953e5822c80522

 

6          Arri Skypanel

Arri Skypanel

Ok I am hard pushed to choose between this and the Cineo HS2 fixture, they are both great LED panels and would solve most of my photography lighting needs very elegantly.

I have opted for the Arri as I have already chosen something from Cineo on the list and it looks space age with its nice blue trimmings. But if you have already bought me a HS2 don’t worry I will still be happy.

arri_sky_panel_led_softlight

 

And for a bit more frivolity as if we don’t have enough at the moment the worst ever Christmas Jumpers this is number 5 on the list but Oh my Goodness it really is a shocker and from the looks of this it’s actually a some poor soul modeling it.

This spectacular specimen actually has a working train running around the bottom according to the blurb. 5 worst christmas jumper .jpg

 

Can anyone beat this????

Cheers Back again tomorrow BB!!




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