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Steve Kemp

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About Steve Kemp

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  • Occupation
    Cinematographer
  1. Happens to the best of us, Annie. When I first started out I got sacked by a first-time "director" for pointing out that he was supposed to say "Action!" and "Cut!" to let the actors on set know when to start and finish. Then, on the second day we had no power for the camera because he'd used up all the batteries the night before watching the previous day's takes. I would have happily left him to flounder, had not his producer rung me up ten minutes later and begged me to come back.... ...A couple of weeks ago, I shot a showreel piece- as a 'favour' -for an "actress" who wants to be a TV presenter ('nuff said). For her piece(s) to camera, she chose the Life & Works of Bob Dylan. She kept referring to Dylan's "dee-butt"; "As opposed to Cee-butt? What do you mean?" I asked. "Oh, you know", she said, "When you first appear somewhere, you make your dee-butt". - I'm not making this up - Then she went on to refer to the French poet who influenced Dylan as being one Arthur "Rim-board", which, if nothing else, confirms that quote about the French being able to pronounce a lot better than they spell. I still haven't seen the material as, she said, I "made her sound confused and aggressive".
  2. Many great artists are crazy, but not all who are crazy are great artists. This is a basic syllogism. Elvis Presley is dead, but not all who are dead are Elvis Presly.
  3. Hi Bryan; That was a very interesting response. Now the inevitable questions: What is the title of your book and where or how can I obtain a copy (bearing in mind I'm in London). Steve Kemp GBCT
  4. Hi Folks; I'm currently on a course at the National Film & TV School in Beaconsfield, Bucks. I got talking to a very experienced 1st AC on the course and he brought up the topic of the number of kids coming out of film schools who all want to be "cinematographers" & lighting cameraman, without first learning thoroughly the vital skills of the actual camera crew: Focus-pullers, Clapper/Loaders, Camera Operators and Grips. Do any other cameramen share these very pertinent views? I'd like to hear what your opinions are! STEVE KEMP GBCT
  5. Hi, Dominic. Sorry about the delay in replying to you. To answer your question, the rushes were colour corrected in the processing, but then, of course, the scene looked too red! As the director didn't have enough money to keep on experimenting with the film to get the desired colour, the final showprint eneded up containing that scene with an ugly green cast to it. Re: the red & green tinting on the VHS copy of a 16mm TV film made in 1976: I contacted a Mr Antony Breakspear who is head of Technical Specialism at Kodak in Hertfordshire. He came down to London recently where we met and viewed the tape at a professional facilities house in Soho. He suggested that the fault was due to poor colour correction in the transfer process. I've actually viewed the original 16mm print myself which, of course, was beautifully shot. So now it's just a case of making another, correctly colour-graded, print.
  6. I've had a colour correction problem with Kodak 7279 500T. I was shooting an Int.Night sequence in a bar. The director wanted a rather sleazy, red light effect, so, as this was my first time shooting a bar scene, I put red gels over the Key & Fill Lamps. However, on the rushes the "red" light showed up as green! A few colour-corrected prints were struck, but the final priny (on 7384) was still way-too green. I also have a VHS copy of a 16mm film shot by one of our greatest DoPs (No names, No Pack Drill) in the Mid-1970s. I notice that too has very bad red & green colouration. All suggestions & advice for overcoming this gratefully received!
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