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Mike Williamson

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About Mike Williamson

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  • Birthday 09/23/1979

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  • Occupation
    Cinematographer
  • Location
    Los Angeles

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  1. Konvas 7M -- 35mm MOS motion picture camera $950 + shipping costs Photos: http://www.flickr.com/photos/mikewilliamson/sets/72157627718094154/ I am selling my Konvas 7M camera package complete with a large selection of prime lenses that I built up over several years. I used it to build my reel as a cinematographer and shot several projects that are still on my reel, however I haven't shot any specs spots in the last year so I have to let it go. The camera works well and the lenses are very good, I find that they are comparable to Zeiss Standard Speed primes. I can provide links to footage that I've shot with the camera but you must email me for the info (trying to avoid spam). It's a great MOS workhorse camera, hopefully it can serve someone else now. I'm located in Los Angeles and local pick-up is welcome. Here are the contents of the package: Camera body (housed in large Konvas case) Rotating viewfinder Base plate attachment/adapter Variable 17EP-16APK crystal synch motor Battery cable - modified to 4-pin XLR female Battery cable - unmodified for original Konvas batteries Back body cap Prime lens set (housed in grey Pelican case) 18mm T3.4 28mm T2.3 35mm T2.2 50mm T2.3 75mm T2.3 135mm T5.0 (2) 400' magazines (housed in Konvas magazine case w/ shoulder strap) (1) 200' magazines all mags have matching cavity covers Adjustable mattebox (housed in small Konvas hard case) (2) filter stages including rotating rear filter tray (4) 3"x3" filter trays (3) metal donuts small French flag spare fuses spare cores
  2. I would check out some of the Japanese cinema from the 60's, specifically the films Criterion has put out on DVD. "Sword Of Doom" and "Branded To Kill" come to mind as having unique lighting and framing, there's a number of other scope B&W films they've released as well. I'm also remembering "Hud" shot by James Wong Howe and "Jules et Jim" shot by Raoul Coutard.
  3. I would add Paul Strand and Robert Frank to your list:
  4. Absolutely correct, Michelle. One of the major problems that I think we all see in the low budget world is people placing themselves in the position of employers without an understanding of the responsibility that entails. I think anyone producing a film would do well to first think of themselves as an "employer", and then look into what that entails legally. There are labor laws that define certain parts of the employee/employer relationship and, luckily, they set limits about what is and isn't acceptable.
  5. I think it's how I started out, but electronic viewfinders just don't do it for me. While you're right that they can give you the same amount of information as a well set up and shaded monitor, I also don't light from monitors most of the time. I usually light standing next to or in front of the camera, looking through an optical viewfinder being my second choice. It's a habit that was reinforced by one of my teachers, I feel like you see details that are easier to miss on a monitor.
  6. While a movable electronic viewfinder is great for operating as you point out, if I'm shooting and operating I would greatly prefer to have an optical viewfinder to look through. Maybe it's because I started shooting film, but I haven't used an electronic finder yet where I get the feedback on my lighting that I do from an optical one. Obviously electronic finders have there place, but it would be a great to have the option of using an optical finder with the upcoming Reds.
  7. When I was at AFI, I got a great set of Zeiss Digiprimes from Band Pro free of charge. They very generously set aside one set of lenses that they donate to student productions, as I remember it was in very heavy rotation and constantly booked. I don't know if they're still doing that program, but you should contact them and find out, make sure to give them some lead time. I'm assuming your in LA by the way, you should confirm your location for us. Besides Band Pro, I also got a deals on different B4 mount lenses from Clairmont Camera as a student, they had a very generous discount for AFI but you way be able to get something similar. They have a number of good cine-style zooms I've used, both Canon and Fujinon, they also have the Canon primes which I've been told are very nice. As Michael notes, you will need to get insurance certs for any rental houses you're dealing with, presumably your school has a policy and can help you with that.
  8. To add one more thought, another great reason to talk with a lawyer is that many (if not most) contracts in the non-union film world are often illegal in part or in whole. For example, as Michelle points out, very rarely do we fit the legal definition of independent contractors, even though this is generally how production companies draw up their paperwork. The issue Daniel raises is exactly the kind of thing where finding out what the state's labor laws have to say is of primary importance. Even if the production company would like to hold you responsible for L&D and put some kind of language about it in your contract, there are laws in place that dictate whether it's legal to hold employees financially responsible for the upkeep of the company's equipment. If you jam the copier at the office, do you expect the repair bill to come out of your check at the end of the week?
  9. Given the size of your lighting package, I would suggest testing a one stop push on 5260 (maybe rated around 640 or 800 ASA) in case you find yourself underpowered, specifically in night exterior situations. I have not tested that stock, although I saw tests and a resulting contact print of a friend's short film shot anamorphic that used 5279 pushed one stop to 800 ASA that looked very good with minimal grain. If 5260 is as close to 5279 as I've heard, it would be helpful for you to know whether you're willing to push or not. Good luck with the shoot, post some info when you're further along with it!
  10. You need to talk to a lawyer. I've never heard of anyone being held personally responsible for L&D on a film I've worked on, my guess is that if you pursue it, they'll have to prove that you were negligent in order to withhold any money from you. But I'm not a lawyer and, to reiterate, I think you need one.
  11. Trailer looks interesting, Max, lots of great compositions and nice lighting. Hopefully it makes it's way to the US so we get a chance to check it out, congrats!
  12. Some labs have demos of different film stocks they can screen for you, I've heard of this typically when a new film stock comes out but perhaps they have a handful of these tests collected. Kodak and Fuji are often generous with donating a roll of a particular stock if you know what you want to test, it also worth talking to the lab and camera house you plan on using to see if they can help you out.
  13. The phrase "optimized for India" is 1) definitely a sales pitch, and 2) probably meant to refer to having a better balance in skin tones. As I understand it, in the past Kodak has optimized skin tones for Caucasian skin which lead to more red saturated flesh tones in previous lines of stocks (EXR for example). I think what they're advertising with 5207 is a more neutral tonal scale especially related to skin tones, presumably rendering Indian skin tones better (or more accurately or neutrally) than in the past. I remember reading something about an older film stock that Kodak created for the India market which was balanced more towards a yellow fleshtone rather than red, but I have absolutely no idea where or if it was still or motion picture.
  14. I just finished gaffing a feature where we used my Digital Rebel XT to take set stills to send to the dailies colorist, also looked at them for references for matching scenes and going back for pick ups. The film was shot on 35mm and the DP timed the stills in Photoshop and sent them off to the colorist. Having seen only a little bit of downconverted SD dailies, I would say the Canon stills were fairly accurate but the highlights blew out much faster. I overexposed the Canon stills by 2/3rd's of a stop because it seems to match my meter better and I'd rather have more exposure for the 35mm negative if the DP ends up making an exposure decision based on a digital still. It's a useful tool for me, we had all the stills on one flash card and it was nice to be able to scroll through the movie and see all the lighting set ups, especially if you needed to match a scene.
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