Ollie Bartlett

Its the AC's, operators and DP's that ive helped that im emailing to begin with and attatching my CV. Im getting a few replies trickle in at the moment, but later today its time to email the companies who's kit ive prepped these last years, but never had a lot of direct dealing with. Ill write back if i get any updates. Cheers guys, Ollie

Hey there, As the title suggests, I've just handed in my notice at my nice cushy job as a tech at the local rental house. Im now currently bricking it (english for metaphorically soiling ones self) as i try to make the jump into ACing. Could anyone and everyone please take a look at my resume, and offer me any advice on how i can make it snap, crackle and pop, and generally not look so bland. Is there anything im missing, or that should be included as standard that i have missed? Cheers everyone, Ollie ollie_Bartlett_AC_CV.doc

4x4 poly bags. Lots of them. Great for putting over the camera and sticks when changing lenses. You've got room to maneuver, and they keep the salt and spray away from the sensor or film while the lens is off. You can put them over every bit of exposed kit when lunch is called as well. Also good for keeping half eaten sandwiches in, so as not to get sand blown on them (do not use the sandwich poly bag for a lens changing bag! I should imagine mayonnaise is worse than sea spray for sensors)

PM me your email. I have very good pdf's of the menu tree's for build 17 and 18 that i can send you. All the best, Ollie

I work at Visual Impact Bristol. What part of the country are you based in? We have 10 offices now around the UK so chances are you're pretty close to one of them. Give someone at your local a call and they should be more than happy to demo stuff to you and thrash out a good price.

Front diameter of the J9 is 86mm, J15 is 85mm... and HJ16... havnt heard of to be honest. HJ17 though is still an 85mm. Hope this helps, Ollie

I was looking to order Harry Box's book this weekend, but am now wondering if it covers UK electrical practice. Does anyone have any ideas, or does the book deal with things in a universal way? Incidentally, if anyone has an old copy they'd like to sell id be more than grateful and can promise it a good home. Technical books dont come cheap over here... just one more reason why i can understand the way Phil feels about this country.

Hi there, Im trying to draw up a new resume / CV at the moment, and am having a few problems. It'll probably help if i explain my position first. I work as a broadcast technician at a hire company. Its not my dream, but its a good job and i enjoy it, and more than this, it affords me exposure to equipment and technology that i wouldnt have usually. The technical side of things fascinates me, and im very happy with that part of my situation. I love the fact that i get to use f900's, RED, the occasional F23, Varicams, and learn about how different pixel arrays work for various sensors, workflow for XDCam etc etc... basically all the things you'd expect from a technicians job. However, more than anything i want to start using this technical experience and knowledge to my advantage working as a camera trainee, hopefully in the future working my way up. But at the moment i am having real trouble translating this technical experience into a resume which will help me get on set jobs... actual camera work. Yes i know my way around camera menu systems and what certain systems can do, but i dont have any real on set experience with them, just stuff ive picked up in the office, and as such, nothing to put on a resume for freelance work. Ive done a handful of jobs in the last few months which can help, but not enough that it looks impressive, more just something thats been tagged on. I guess my question is this: How can i build a resume up for trainee / assistant work, out of purely technical experience. Or, should i forget that, and just write a technical CV, and send cover letters with them explaining that yes, this is a technical CV, but what i really want is to get on set experience. I think really it boils down to me wanting to get trainee work and, at some point in the future move away from the kit room, but not really having the experience to make a resume for it. If anyone has any suggestions i'd be really appreciative, and if anyone would be willing to take a look at what ive written so far for my resume, and maybe give me some pointers, i will forever be in gratitude to you. Many thanks, and longing to hear some opinions, Ollie

Hi there, Sorry in advance if this has been discussed a lot of times, but although ive been using the varicam for some time now, i've still never found out how to ramp the frame rate whilst actually shooting. I know how to change the frame rate from within the menu, but not, as i said, whilst shooting. As i said, if this has been covered a lot then my apologies. Ive been getting excited pulling 100fps out of a z7, and just realised i've never understood one of the varicams key features properly.

Thats fine. I dont need both hands to carry around his tea or coffee so I'd have one going spare.

I did a demo with Sony where we were showing the 700 (SN:00002 right out of the box) with all the planned upgrades on. There was no variable frame function, but it was able to shoot 25 at 1080p or 50 / 60 at 720p. It does however feature a full 1920 x 1080 chip (2.2 megapixel and the same front end as the HDC-1500), which the 2700 does not (1280 x 720, 1.1megapixel). In this respect I'd say its fairer to compare it to the HPX-3000 dont you think? Of course, once you do that, the Sony seems a great option. 13k cheaper, 50 gig media disc for £35 as opposed to a 32 gig card for £800, and the Panasonic 3000 wont do 50 / 60 fps. Ive used all three in question (not the 3700 yet but hopefully soon), and in value for money, the Sony has such a broad range of features its hard not to like it. All four of them still have the crappy lcd on the side. If they can put such a sharp lcd on a £4k EX-1, why not on an £18k PDW-700 or the more expensive Panas?

If youre still in Bristol Stuart you fancy making me a camera trainee on your next project :unsure: Then i can get out of the kit room for a bit and hopefully learn from the person who made me want to be a DP in the first place. Ollie

Guys thank you so much... might have to try and get a copy of the ASC manual of the internet. As you said Joshua, its not what you know but what you do with the information thats important, but all these bits of knowledge that i can gather will just help me that little bit more on the few times i actually make it to set. Gonna check out that rule later Chris once we close up at work and i can get a dark room. Cheers once again, Ollie

The thing is, every other part of the equation has an explanation. ASA, shutter speed, f/T stop, all of which are variables. I cant understand why frame rate, another variable, wouldnt be given an explanation. He doesnt say that this number should be altered accordingly if you're shooting 24, 29.97, 30, 50, 60 fps or whatever... its just the number "25".... odd. As i said, i dont get as much chance to shoot as id like, so im trying to get my head around the photometrics of it all. Using this formula i should be able to get key lux level. Using another will tell me how far away a given light would need to be in order to hit key (as long as you initially know its lux output at a given distance). Then, knowing how many stops difference you'd like between highlights, shadows, objects etc etc you can work out required lux levels for other areas of the frame, how much light will be hitting them already as spill, and how to top that up / cut it down to whatever you need in order to create good contrast within the image. Still using 800 foot candles as a reference, millarson says if you'd like a 3:1 contrast ratio (a stop and a half?), key would be 520fc and fill would be 280fc. This only seems like a 2:1 difference to me. Any thoughts on where im going wrong here? Is there a slight inaccuracy in the book, or am i just going completely down the wrong track? I know that the science plays only a very small part in what id like to do, and i shouldn't worry so much about the technical stuff, but working 11 hours a day in an equipment house leaves very little time for the art of it. I'd love to get out and shoot, but at the moment these technical ramblings are about all i can fit in, so anyone who can point out where my mistake is to me has my deepest thanks.

Hi there, Ive been looking at millarsons 'lighting for television and film', and come across an equation for calculating fc / lux ratings for key and fill light. (25 x f/ x f/) / (asa x 1/shutter speed) = total FC 10.764 x total FC = total lux firstly id like to ask where the 25 comes from? its not explained in the book, and so i can only assume its a given number. Could it be anything to do with frame rate? Would i change this if i was shooting 60 fps? Would it make any difference anyway if the shutter speed was always half the frame rate? Secondly, millarson says that the final outcome will give you a total figure from which to work out your key and fill ratios. If i end up with a number of say, 800, would a 4:1 ratio mean 800:200, ie the total lux gives key, then fill is worked out after that? or would 800 be divided into 5 parts of 160, and then the ratios adjusted accordingly? ie 640:160 hope this isnt too muddled to be understood. Cheers guys for any imput. Ollie PS... if anyone has any other equations for lighting, lenses etc etc id love to hear them. i dont get as much chance as id like to be out there shooting and so a lot of the time i have to rely on my fascination behind the art and science of cinematography to tide me through.