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Adrian Barry

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  • Occupation
    Cinematographer
  1. Thanks for the reply. Do you mean shoot straight onto the laptop through fire wire. I would be using a Z1 so is this possible? Have you done any thing like this before? cheers Adrian
  2. I'm not sure if this is the right place to put this post but here it goes. I have been asked to shoot a training session in Germany then "give it a quick edit" and hand out a few DVD's of the days sessions. As simple as it sounds I have concerns in regards to managing such a work load on a very small budget (£500 including rentals and my wages). From my experience Capturing the rushes into Final Cut is a timely process as is authoring the DVD's 1. Does any one have any experience of working in such a way, if so do you have any suggestions? 2. Is there a quicker way to turn the final product around than shoot all of the footage then import onto final cut pro using the same camera then export onto DVD? Bare in mind I plan to use a Z1 as it is free, so D.V would most likely be the format. The only other practical way I can think of is use a Sony ex1 and shoot onto cards, importing as I go. The problems with this however is the rental cost will be much greater, and although I havn't used the camera the cards wont hold much footage (around 15 minutes I guess) 3. Can any one suggest a cheaper but similar method? I'm sorry if this is off the beaten path of the usual topics, but hopefully a subject some one can address. Many many thanks Adrian
  3. Dear all, I have recently been asked to shoot a time laps sequence as part of a "making of" documentary using a Z1. Essentially I will be filming a set being built over a couple of days. I understand that the Z1 does not facilitate for shooting time laps sequences as there is no variable frame rate or shutter angle. My plan was to literally shoot the sequence in real time then get the editor to de-interlace the footage in post and speed it up there. The footage will not be broadcasted but simply used in house, and perhaps on a website. my question? 1. Has any one used a Z1 to shoot a time laps sequence before, and if so how did they find it? 2. Is there any tricks I could adopt to save my self literally shooting over 10 hours of footage? 3. What are the potential problems the editor could face in post, if any? I appreciate your time and responses, Regards Adrian
  4. Thank you for your responses, I have been researching these forums and others on the net, it was however very useful to get the answers to my questions directly. I'm interested Mike that you said you wouldn't touch the movietube with a stick as I have read quite a few reviews on here that say it is the best or that it comes highly recommended. I will also definitely look into the P&S adapter. From your experience would the adapters hinder the image enough to make it NOT suitable for television broadcast? Also are the image defects found even in the more expensive adapters? It seems that the price of creating a shallow depth of field on lower spec HD cameras is high. Ideally i would like to rule this whole process out and just opt for the D20 or D21 but alas they are to expensive.
  5. As i have mentioned in my previous post I am new to shooting with mid level HD cameras so please excuse my ignorance. Normally I would opt to perform tests in order to find answers but due to time and money restraints this is not as much of an option. I have a few questions in regards to using 35mm adapters. 1. What are the cons, or problems that can occur when using 35mm adapters on HD cameras. 2. What are the best 35mm adapters available at the moment? Judging from previous posts movietube is often talked about, but is there many alternatives? 3. Although I haven't used the movie tube i saw one set up in panavision and the diagram on the website shows it to be quite bulky, this i presume is down to the volume of glass that is inside the adapter. Does this mean that an exposure compensation needs to be made? Or will the t-stop change, as the light has to travel through extra glass? 4. Finally I would be greatly interested in any ones thoughts or views on the subject or possible factors i may have missed. Many Many thanks
  6. After briefly researching into the cameras you have listed it seems they predominately shoot at 1080 interlaced rather than progressive. From my understanding on the subject, it is always better to shoot progressive, especially as the video will be used for the bands internet site and other promotional websites as well as being broadcasted. If possible i would like to avoid de-interlacing the footage in post. Could you recommend a camera that will allow us to shoot progressive but under the same criteria I have mentioned before i.e. cost effective, requires minimal crew (only 1st ac and second ac) and reliable. It would also be helpful if we could use straight 35 lens' and not have to use and adapter. Many thanks for your help as I am currently getting to grips with shooting digital.
  7. I will be shooting a music video in about a month and trying to find the right camera to suit our very tight budget of £500. Previously I have mainly shot on super 16 but due to budget restraints we are having to find a digital alternative. My digital shooting experience only extends to using the Z1 or some of the DSR range. However I have assisted on many times on the D20, D21 and genesis but feel these would not be suitable due to cost restraints and a lack of technicians and assistants. I will however be looking to get an adapter to use 35mm lens?. Could any one recommend a reliable digital camera that will produce a broadcast quality image as the video will be aired on the UK music channels? Essentially a cheap but effective HD camera that is suitable for small crews. All of your help is greatly appreciated.
  8. Hi, Could any one please offer some advice when exposing for HD using waveform monitors. I have always been trained to use a light meter but have recently seen DP's use only the monitors with brilliant results. Any advice would be great. Thanks Adrian Barry
  9. Hi, Having just finished my BA Hons in film production at the arts institute of Bournemouth I feel the next logical step is to attempt to get into the NFTS as it will allow me to further my skills as an aspiring DP. I am however debating whether two more years in education will be more beneficial than 2 more years in the industry. Background: While studying at the arts Institute (Bournemouth Screen Academy) I have been taught and used extensively 16mm as well as a large range of lighting equipment (every thing from Dedos to 5ks to spacelights). I have worked on several occasions with the Pee wee chapman, Kingfisher, and Elemacs as well as working with Bickers and a range of vehicle mounts. I have been DP to 6 short films ranging from 40 seconds to 20 minutes, all of which on 16mm and of a reasonable budget (£100-£9000). I have also obtained industry experience in both film and television. (would this meet the criteria?) Question: 1. Could any one please give me an insight into the criteria of the students The NFTS looks for? 2. How often does the school allow you to work with 35mm 3. Is the two years at the school better than two years of industry work Finally I understand the course prospectus offers a lot of answers but to the best of my knowledge these are normally full of propaganda and the best people to ask are members of the course or others that have been in my situation. Adrian Barry adriansmbarry@googlemail.com
  10. I'm not sure if it is the same in the states but what I have discoverd in England is that taking some time out to go and spend some time in the camera houses can result in huge discounts of camera equipment hire. On my last shoot I spent a few days down in pinewood studios and was astounded by the "want to help" attitude every one had. It seems at the end of the day many people have been in the low budget situation and understand that money is always a huge issue so are willing to negotiate on prices and lend a hand where possible. I would recomend taking a few days out to go and get to know some of the guys you are renting equipment from so they get to know the project you are about to do. By doing this on my last shoot we managed to get thousands of pounds worth of equipment for next to nothing. It also helps to build a level of trust between yourself and who you are renting from.
  11. We where using a set of standard zeis primes with the arri sr2, the only specialist lens' we used where a 100mm macro and a 200 telephoto lens, I would be more than happy to send you some stills but it is currently being edited in bournmouth and i'm in london, I will have accsess to the footage in about a month, I hope this is not to late for you. One problem however If you do not have a matt box you will not be able to add any nd filters which could be problamatic in the sun as quite often you will be getting a huge fstop. If you are shooting with natural sunlight on the 500t I would seriously recommed getting a set of combination ND and 85 filters. If there is any thing else I can help with please do not hesitate to ask Adrian Barry
  12. Sorry i was logged in under my friends name before, this is my account Adrian Barry adriansmbarry@googlemail.com
  13. Thank you for yout advice, i will test these methods and see which is the most suitable. Adrian Barry
  14. I am currently working on a short film and one of the shots is a POV from within a bath full of water. The aim is to look up from beneath the surface of the water to the character on the edge of the tub. If any one has any advice on how to achieve this shot please let me know. We will be using an Arri SR2 and shooting on Kodak 500t with a Zeiss 25mm lens. Thanks Adrian Barry
  15. Thanks so much for your help I understand your point, I have taken what you have said into concideration and will apply ot to my practice. Many Thanks Adrian Barry
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