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Tasha Back

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  • Occupation
    2nd Assistant Camera
  • Location
    London, England

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  1. Hi William You can shoot 4 perf, 3 perf or 2 perf with a 235 but you would have to change the movement inside the camera each time and really this should be done by an Arri technician to make sure it's running smoothly. It's not just about the camera gate but how much film is pulled through per frame. Obviously for 2 perf you have 2 frames for every 4 perf frame (hence savings on footage!) 2 perf would make you lots of savings on footage but remember you have no choice but to do a DI in order to get it back to 4 perf if you want to project it in most cinemas (if you did a contact print with a 4 perf projector from 2 perf you'd see 2 images per frames!) 2 perf projectors are pretty rare at the moment. Does your institution have access to DI facilities and / or the budget for them? Yes 2 perf / 3 perf / 4 perf use different projectors. You could TK if you are eventually viewing digitally (ie for TV) but check you have a lab nearby that does 2 perf / 3 perf transfers as not all do. I'm not sure what facilities your institution has but also think about where and how your final films will be viewed. Check out http://en.wikipedia.org/wiki/Negative_pulldown Hope that helps :)
  2. Diary Services are a good way to go - once you've joined you can call 1st and 2nd ACs on their books and at least you have a link to them "I'm with the same diary service as you..." That way if they don't remember your full name when they come to book a trainee, they will at least remember you're with their diary service. Remember you have to pay a monthly fee though - not that affordable on a trainee wage. Best list is the Guild of British Camera Technicians based at Panavision (UK). You can join their trainee list for free although you may have to ask a few times! Once you get your first job make a good impression on the Focus Puller and Loader as this'll lead to recommendations for more work. Your best source of work is recommendations from Loaders / Focus Pullers and other Trainees who aren't available at the time - so make friends! Good Luck :)
  3. Good point. It implies the camera department isn't as important as say the art department / sound dept / visual effects / stunts / make-up - all who get their own section whilst Camera / Grips / Lighting all have to settle for "other crew"! This is a shame as, in the UK at least, this is an important website for crew as it is frequently used to check resumes. I imagine it's the same in the US? So I suggest a campaign for change... To contact IMDB and suggest seperate sections for Camera, Grip and Lighting departments contact: http://pro.imdb.com/helpdesk/contact
  4. It was 35mm using fuji stock. Majority handheld using Arricam LT with 400ft loads - 2 cameras staggered so one was shooting while other reloaded. 45 minute takes at times! Model planes on hydrolics in a studio so the plane is actually moving - with camera teams and cast being thrown around for real. I think the end result is gripping but also tastefully and respectfully done - lack of melodrama and recognisable cast helps.
  5. Hi there Can someone tell me how I can get an effect of blurred motion shooting on 16mm film? Is this the effect shooting with a 45 degree shutter will create? In this case do I need to change the fps or just adjust for exposure on the lens? And if so by how much? What is the difference in effect between changing the shutter angle and the "saving private ryan" technique? (I believe they changed the movement in the camera so the film was being pulled down whilst the shutter was still open to create a "strobing"...is that correct?) Any help much appreciated! Natasha
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