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grantsmith

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    2nd Assistant Camera
  1. Hi there, I thought I had exposure nailed but after reading about the zone system i got confused. i understand that your light meter gives you a zone 5 reading. if it was an overcast day with even daylight and i wanted to expose for a face correctly, would zone 5 not be underexposed? if the stop was 5.6 on the meter would i need to open up to 4 to get zone 6, or even 2.8 for zone 7 to get a 'normal' face exposure? in the same way that you look for 70ire on a video camera to get a good face reference exposure. he seemed to suggest that many light meters were not correctly callibrated and some give you the face exposure for your initial reading. I want to shoot some reversal but don't want to mess up the exposure. any ideas? thanks
  2. Hello, I'm about to do a shoot. Unfortunately there is no time for tests. I'm a bit worried about the camera as we had a battery issue. I've hired some IDE's from a Digibeta with a 12v 4-pin adaptor. They seem to run the camera. I've only tried running an empty mag for a few seconds. What worries me is whether it is running at sync. When the camera is in standby a red led appears in the top right and dosn't dissapear when I run the camera. It's been a while since I used the camera and I can't remember whether it changes to green or goes out when it reaches speed. Or is it fine with the red light appearing? I think it is the 1st version of the sr2 (pre 1984). The only manual I could find (and the john fuer book) only seemed to mention the new version which has a different asynchronous setting. ANy help is appreciated.
  3. i do this quite a bit. I have some rewind handles screwed to a piece of board. I just pop them in a changing tent and wind them on. Unfortunately you have to wind them down onto the 100' spool then back onto another spool (as the film is the 'wrong' way around the first time) and like dan mentioned it is a bit of extra wear on the film. It dosnt take long though - the handles are geared so it can all be down in a couple of minutes.
  4. I've been reading the article on frame rates in paul wheelers 24p hd book. He lists 24fps as exactly replicating the cinema projection rate and then 23.98 as replicating film shot for ntsc where the 3:2 system is used. How do these systems differ. I would imagine all the hdv consumer cameras use the later version of having 24fps. It seems to be a bit of a cheat to call them true 24fps cameras.
  5. I'd be interested to see some responses from those who work in the uk system. From my experience there seems to be a menage a trois between the director, dop and operator in the uk but just dp and director in the american way. though, like david says everyone works differently. I've only worked on one American film so it may just have been that one film. Is there a big difference in the way uk cameramen work?
  6. Stop always putting matthew down karl! Of course he hasn't shot thousands of feet of film, and yes he occasionaly makes some silly posts. Just ignore him rather than reply with comments where their only purpose seems to belittle him. I think it's fantastic that someone who is only 15 has such a strong interest in film. Hopefully he and his peers will go onto keeping the format alive in the future. Matthew, I think your doing a great job and that it's important that you stay here and learn as much about the film-making process as possible. Anyone who has this interest should be encouraged as much as possible to continue. Keep up the good work (though maybe think a bit longer before you post some things!). Without replying to this you guys should maybe not reply to the others posts (unless it is neccessary)
  7. Hi, I tried searching for the post from Andy Aldersade about how he made texting but can't seem to find it unfortunately. What places in the UK process S8 Negative and where can you get them telecined? And more importantly, how much does it cost? I'm ideally looking for somewhere that can telecine per roll rather than give a quote per foot. I'd happily shoot more 16mm on my bolex if places offered to do this per roll rather than charge a flat fee per hour (though I do understand it is to do with cost implications). Thanks
  8. thanks guys, yeh, i'll process it myself with some d76. I was just curious as to why it was returned from lausanne (I'm posting from europe). I thought there may have been a chance that it was k14 but dwaynes didn't try it as it was 20 years o-o-d. It didn't come back with much of an explanation, just 'too old' How can you tell if it is k11 or k14 by the film alone? It does look slightly different i suppose, a slightly greyer backing and a nifty wedge shape at the start for easier threading.
  9. Hi, I've just had some k40 returned from lausanne today unprocessed. It came with an esoteric note saying it was 'too old' to process. It was part of a batch I had bought of old k40 but the box had the date being 1983. I've had super8 from the late 70s processed without an hastle. I know that k11 can't be processed as the temperature of the k40 process is too high. All I can think of is that the contents of the box did not match the box label - i.e. the film was actually k11 in a k14 box. When I loaded the film I was a bit suprised as it was double perf. Any ideas? Thanks
  10. thanks bernhard. thats what i assumed (and did last time). was just wondering if anyone had gone direct. seems bizarre to send it to continental europe for them to send it to america then back to switzerland then back to me! CHeers, grant
  11. I will be sending some k40 away to be developed on fri (if shoot goes well on thu). Is it quicker for me to send direct to dwaynes or do i still have to send it to lausanne? anyone know how long it takes these days? i sent some 3 months ago and it took over 3 weeks. thanks
  12. i would have thought that it might be a zero decibels (0db) input. Perhaps some kind of line input for connecting a tape player or something similar?
  13. Thanks Clive, What an interesting site you have. I'm assuming the directions you are giving is for shooting 24fps? My Bolex (non-reflex) SR is 159060 which seems to be inbetween the m and the rex 1. I'm pretty sure it is a bolex T however as it is like the supreme as all spec seems the same (no filter, 5 part parralax viewer). Are the diections the same for this camera? Anyone have any other tips for getting the best exposure possible with an incident light meter? Thanks, Grant
  14. Matthew, Have you sent your film off to Andec yet? Last I remember was that you were about to do the 15 euros deal they have to process a roll of 64t and send it to you. It great to shoot your first roll but nothing is exciting as getting it back! you should think about getting a projector from ebay too, if you want to watch it as it was intended! Grant
  15. I worked on a low budghet music video (can't remember the name of the band unfortunately) but they used a trained dancer who specialised in carrying out 'slow motion' routines. The camera was undercranked and when speeded up in post it worked really well. If you can get a trained person to do it it will work, otherwise it does just looke like someone walking normally with ocasional jerky movements.
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