Jump to content

Steven Wyatt

Basic Member
  • Content Count

    108
  • Joined

  • Last visited

Community Reputation

0 Neutral

About Steven Wyatt

  • Rank

  • Birthday 01/30/1986

Profile Information

  • Occupation
    Camera Operator
  • Location
    West Yorkshire, UK
  • Specialties
    Cinematography, Filmaking, Still Photography

Contact Methods

  • Website URL
    http://www.picturelock.co.uk

Recent Profile Visitors

2509 profile views
  1. Hello! I just wanted to add a further question to this post regarding speed ramping, how would one achieve a speed ramp in camera? I've linked in this showreel as an example for reference (watch at 48 seconds in, where the foot hits the puddle) : Would this be an in-camera effect or a post production one? Thanks Steve
  2. Just forgot to add, if your end project/ finish was 1080p, then you could alternate between 4k and 2k no problem, it would mean you could shoot at higher frame rates in 2k mode if necessary.
  3. Hi Rob, Long time no speak it's Steve! Hope your well. Regarding your question, I dunno, that sounds very strange to me, but it's possible to do that. In terms of going from 4k to 2k, the resolution does crop down, so I suppose in essence you can alter your composition changing your resolution. I'd just stick to either one of the resolutions depending on what your project doing, so for example if you have 35mm pl lenses, just stick to 4k but if you got s16mm lenses go 2k, as i'm sure your aware. Hope this helps Steve
  4. Hi everybody, any body got any covers for eclair npr magazines? Steve
  5. Hi everyone, Just wanted to know if any one else here is using the Complete 16 package to? Would love to see your results! steve
  6. Thanks man, it was great to do, I forgot to mention the transfer was to Digibeta and then converted to uncompressed SD quicktimes for editing. Deluxe Soho did a great jobs with the telecine, for a 500T stock its wasn't as grainy as I expected as the last stock I had used was the 7219 Kodak, which I absolutely adored, but then again we didn't have a budget to test tocks and I was quite up for the idea of taking advantage of the Complete 16 package, which is absolutely amazing! All interiors and night exteriors were shot at T2.8. Daylight exteriors varied between T2.8 to T8. At on point I rated the stock to 250 and had 85ND9 + ND9 in the mattebox! I ended up wearing some blackout over my head when I was shooting in sunny conditions. :)
  7. Hi, I love using super 16mm, I just recently completed a short film on an Aaton XTR prod, frame grabs can be seen here :
  8. Hi everyone, I just wanted to post some screengrabs of my recent short film I shot in Cumbria, UK. I was very fortunate to be able shoot this one on 16mm, having always shot on this format during my time at film school I absolutely loved it and in the wake of Red's & DSLR's I found myself doing more low budget shorts on these systems. But thankfully the Complete 16 package offered by Fuji Film came along, and being quite excited about it I jumped at the opportunity. Thank fully, the Director to was very up for the idea of shooting on 16mm, but more importantly the story we were telling suited the format aesthetics. The short is set in cumbria during the foot and mouth crisis of 2001, where sheep and a variety of farm animals were suffering from a contagious diesease, which resulted in the Goverment issuing orders to cull most of the infected and uninfected livestock in an attempt at containment. My camera and lighting package came from Provision in Leeds and consisted of: Aaton XTR Prod Carl Zeiss MK3 Superspeeds (9.5mm,12mm, 16mm, 25mm, 50mm and 85mm - (35mm format MK3) F4 Ronford Baker Handgrips Filters: Pola, 85ND.3,.6,.9 & a set of clean ND's 1 x 2.5 HMI 1 x 1.2 HMI 2 x 44 Kino Flos 2 x 2ks 2 x 1ks 2 x 650ws Shot on Fuji 500T Vivid Eterna - rated at 320 asa. I don't think I can upload anymore pictures here but please have a look at the frame grabs on my flickr account : Let me know what you think and thanks for looking!
  9. Hi Olex, Yeah I would be very interested in seeing some pictures of OCT-18 lenses mounted to Arri PL if you have them Do you make PL adapters for these OCT-18 lenses as well? Thank you!
  10. Hi everyone Tried to have a look for a post of this if anyone had created one already but was unsuccessful. I'm seriously considering getting some of these lenses as i'm a big fan of Lomo lenses and these seem to be the most affordable cinema lenses for 35mm on a budget like mine. I'd like to be able to use them on my GH1 or for some red work when I get it. But what I cant seem to find is any information about PL adapters for these lenses? Is it even feasible to get a working adapter for this type of lens? There very similar to the Arri standard design where the focusing forms part of the barrell movemement in which case if an PL Adapter was clamped to the lens it would not be able to focus. Is this correct? I've seen these OCT-18 lens adapter on Ebay : http://cgi.ebay.co.uk/OCT-18-KONVAS-KINOR-RED-ONE-ARRI-PL-mount-adapter-/260708693927?pt=Film_Cameras&hash=item3cb372f7a7 Is this useable? All comments appreciated! Thanks guys. Regards, Steve
  11. Hi everyone, I'm on the look out for this particular lens, i'm UK based but am happy to pay for postage from anywhere in the world. Thanks, Steve
  12. Hello, Thx for the info have e-mailed the them awaiting a reply. Thx, Steve
  13. Hi guys just bought this lens recently and need to find a place in the UK or US that offers a super 16mm conversion for this lens to convert it to 11.5-115mm. Any advice? thanks steve
  14. Hi Thanks for getting back. Does this mean it also covers at at F-32 at close focus to? Regards, Steve
×
×
  • Create New...