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Nathan Martin

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About Nathan Martin

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  • Occupation
    Cinematographer
  • Location
    Sydney Australia

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  • Website URL
    http://www.natemartin.com.au/
  1. Might be better posted in the camera assistants thread in future. from my understanding melbourne doesnt have any more to offer than sydney does. And up here its about the same. John Barrys or Lemac. However Arri in sydney have some great stuff for very decent prices. i got a great bag from them for $240au Also BHphotovideo.com has decent shipping costs to australia. If your after a large portabrace PC-3 bag in black, ive got one id be willing to sell thats in pretty good condition.
  2. thanks a bunch chayse, do you know if there is any crew booking agents elswhere in canada like toronto?
  3. Hey there, i was wondering if anyone here knew of any booking agents for camera assistants in BC. I might be making the big move across to vancouver and wanted to check out which agents are good. cheers
  4. I was playing around with this effect today actually. The way I do it is to make an additional iris. I cut a piece of black card to sit over the rear element of the lens, then cut the desired shape out of the card and tape it to the back of the lens. If shooting on filM you will need a bit of testing to check your exposure compensation
  5. Hey there, i have a red short coming up in which an alien race lands on earth. for the actual landing the only sign of aliens is a strong white light beaming in through kitchen windows and it moves around the backyard. i have a fairly decent van package to light with however i believe it only goes upto 2.5k i was thinking i may need a couple of 6k's on some sort of a track just to get enough level to compete with my nighttime ambience indoors which im assuming will be around 2-2.8 at 320asa. the question is, do 2 6k's sound about right for the job, and will they be sharp enough and even enough to mimic a large orb of light travelling around the backyard (roughly 25' - 30' orb of light) the next setup im curious about is the first and only time we see this giant orb. it is sitting in a clearing within some bushland. Its being keyed in after the effects are finished, but for the source of light i was thinking of a couple of 2.5's on the ground through 251. the worry i had with this was that it may not give a good even coverage over the roughly 200 degrees of trees i imagine will be in shot. The other idea was to rig a whole lot of parcans to some truss at all angles, or putting in a couple of dinettes and angling the heads off to hit where i want. Any ideas? the final question is. There are smaller orbs travelling through frame and vfx and myself would prefer a reference in frame to give off light and provide a tracking mark for some of the orbs. The only idea i have so far is to make up some 12v peanut globes on xlr cables and run them off of fishing poles with some blue on them. any and all input is greatly appreciated thanks all
  6. I was shooting in Canada early this year and it got down to 55 below celcius. The cooler with foot earners works well, the best thing to have on you though is large sealable plastic bags. When moving anything with glass or electronics indoors seal them in a bag so the condensation will form on the bag and not on the equipment
  7. a little trick ive used before is to keep a pola in the whole time, and adjust it to get the right blue in the sky. This worked well for some things but if your shooting anything with reflective surfaces it can become a bit of a headache trying to get rid of the reflections and keep a consistant sky at the same time. the really hard part is trying to remember the blue you were getting the day before and matching it. obviously this doesnt make the subjects lighting match, but by keeping the sky consistent, it does help the feeling of consistency. on the other hand, i dont really like very blue sky's unless theyre needed. theryre very distracting.
  8. if it needs service or repair, there is a guy in sydney i forget the name of who is quite good, but you can find out his details through sydney film school.
  9. stung! my apologies, a dp i was working with a week ago was rating it at 320/200
  10. shoot an omni or two into the ceiling somewhere behind the actor and shoot him half a stop to a stop under (no more tho or it will be black) b&w reversal looks great with faces underexposed (well in my opinion anyway) Of course it wouldnt be as simple as i suggested, thats just a general idea. the few times ive shot bathrooms i always found that rigging lights high worked well with getting rid of reflections in tiles. oh and it is a 200ASA film stock, i think you might be mixed up with something else adrian. 200 under tungsten and 320 under daylight
  11. my magliner senior has served me well the last 4 years but honestly, after 2 years everything gets a little loose and wobly. You can tighten it all up again but it comes loose faster and faster as time goes on. And the caster wheels on the front completely rule out dirt, sand, and most grass. A friend has the yaeger and sons senior and it seems great but hard to get here in australia. A few assistants round the place have just gone to steel fabricators and gotten custom carts made. It gets a little pricey and usually they arent collapsable but the ones ive seen are the best carts ive used. Very solid, and usually made to fit perfectly in their van or truck.
  12. Nathan Martin

    stedycam

    if he is looking at a steadicam in the range of 2000 dollars i dont think it would be logical to pay the extra to get a rig that can handle 35mm, as the extra would be between 30 and 80 thousand. I have no experience with movcam but have heard good and bad reviews, for what your looking to fly though it should suit well. The later of the two i would advise against. It may serve your purpose for a few months but it will almost definatly break, and maybe smash your camera in the process Glidecam make some ok rigs for the price range, and if you come across some more cash the steadicam flyer is a lot of fun. And it has a high payload for its size
  13. hey Tom, great stuff, ive got a 40d which i was going to get a intervalometer for, i was wondering what you use for the panning in shot? is it a post pan, or are you using a remote head of sorts? cheers
  14. i think porn dp's will be delighted with the release of the scarlet next year. 3k res, low price tag, and small enough to put it anywhere....... i blame my fathers upbringing of me for any bad jokes that come out of my mouth
  15. Wikipedia has lied to you. there are lots of cameras with native 16:9 ccd censors. The standard for dv cameras before about 5 years ago was a 4:3 native 3 ccd arangement. But thats only because the broadcast standard was 4:3.
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