Sean M Murphy

I can see what you are going for, but how about starting out in the directing-apartment instead? Like a third or second assistant director, if directing is what you want in the long run. Then you'd be really close to the "action" you need to be in. And while that pays your bills you could make your own films on the side :)

I've spent quite a few years in the AD department and then I moved to Post. Now I think my focus will be in camera where I have more of a passion and can feel more creatively satisfied.

David Thank you for responding,

Well my long term goals for camera are in the way future distance to Operate and from there someday to Direct. Part of why I went into Editing was to get closer to Directors so I could interact in terms of narrative and to observe their process. Part of it was to make money in a career progressive mode.

At this point I'm thinking I want to learn more on camera and be a really great AC (which to me is it's own discipline) and learn as much as I can. I think this works as a win-win.

I can earn and pay the bills while learning new skill sets that will help in my long term goals of Directing. I think I could be a really great AC, I can learn more of the details of working in Camera AND observe process's on set I've not had the opportunity to see in post.

I would note though I spend a lot of time looking at how footage goes together. I see it on the other-side and have to directly manipulate the footage. I've seen bad focus pulling and stellar "oh my god it's full of stars" pulling. I want to learn to do the latter.

I do feel my time assembling a context of footage plays as an excellent background for looking at coverage on set. So were I to apply this as a DP I feel I could have a unique perspective when interacting with a Director or as a Director.

My passion is Filmmaking. Anything that furthers my sense of craft is worth it. Even a cut in rate is still ok if I'm learning to be a better filmmaker.

Really great reel. Love the movement.

Hey guys!

So I've been working as a freelance Editor for several years.

I miss working on set and as the post market seems to be more and more saturated I want to expand my options for work and include camera as a skill set. And I don't mean video I mean big boy rigs like the Alexa and Scarlett and F55.

I've been following The Black and The Blue for sometime. I've had a great deal of photographic experience from college and have been on set as many years as in post.

So I feel I can pick up (even as a camera PA I don't need an ego here) in the camera department and become a real asset.

My question is this: Where can I meet folks who can help me get an interview? I want to work up to at least a 2nd AC and I think my experience in post would give me an edge in Digital Production.

So yeah... I'm super excited about starting in a new department and learning a ton more. Any Advice? Leads?

-SM

True but if all you're trying to accomplish is to learn how to expose film properly and gain experience I say do it. Shoot elements of a video with a 16mm bolex or whatever and then edit it into the video. Just ask for them to telecine/DI you footage. it's costs some money but as a student you can get discounts in developing and telecine. I used to do it in college and it worked out great especially if all you're sending them is a couple hundred feet.

Sean,

 

We used to yank them off of Ang. zooms all the time when the owner went from using an Auricon or whatever none reflexed camera to an Arri or whatever. I would think that Century Optics or some other lens repair facility would have a drawer full of them.

 

Saw one on ebay a week or so ago. If you find one I could probally talk you thru on the mounting and the alignment of the mask.

FANTASTIC!!! Thanks a lot Chuck. I had gotten to the point where I was getting pretty desperate. I'll look them up and let you know.

Unless your zoom is just missing the side finder you can't just attach one to a lens that does not have the the proper rear optical housing. Two different optical mechanical configurations altogeather.

copy that

it is just missing the side finder... it has everything it needs to work. I just need the dog leg and having never needed to find parts for this kind of lens it's strange territory.

Thanks

I'll keep that in mind.

meaning that finder wont work...

I can't seem to find something online anyone in the LA area no some good camera shops? Used cheap but decent. (that's the trifects fantasy)

If you're on a budget go for a Sekonic Studio ( I have two 398's...love em) it's simple uses no batteries and often you can find one on ebay that will go for a song.

as for the shutter stizy I say keep an asc manual handy... I think film tools has them for like 66 bucks which is a totally worthwhile investment if you think you could use a reference. I use mine all the time.

Guys , I have to stop and say, Thanks even do I keep doing my own stuff is always really nice to count with you fellas,

 

Mike I used the Cooke and I was really close of buying it, but a bunch of illnesses stop it, I want so many lenses you guys have no idea, but I also want weird lenses, with great distinctive looks and shapes.

You see I'm a director, first and for most and I always looking for different things to work with I love to mix old and new glass create more visual stimulations, shapes contrats and so forth again I thank you guys for the advice, it's well taken I will included on my research

Keep it coming!

I would have bought it just on price... can't hurt to pick up on an oldie like that... never know when you may decide you like it... or need something to use for target practice :P

that angenieux viewfinder is for an eclair acl camera... i seriously doubt it could be applied to a 12-120 lens. it'd be like hunting for a duck with a decoy moose.

I'll keep that in mind.

I agree if you have the time test it. It can't hurt either way and it gives you room to experiment and understand the environment you're working in. Personally I would shoot it without anything in camera and adjust it in post. The other thing to consider is that if you get into a situation where you need that stop you will have it. So a potential solution would be to shoot as much as you can with the filter in cam and then (assuming you know when and where you may need the other stop) shoot without. This has the advantage of giving you control footage to compare to and adjust your post tweeked footage so that you can match them more effectively.

Let me know how that works seems like a worthwhile experiment!

Well I got a SWEET deal on an Angenieux Zoom off ebay and I need to find a dog leg for it because (shock and aw) no viewfinder comes with it. My bolex is non relfex and I really want to play with it using the reflex prism so I need to find a compatible viewfinder. I found one on ebay that says it will fit an eclair... looks like a smoking deal

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...A:IT&ih=011

however if it doesn't work for the lens I bought I want to find something that will. Any help would be greatly appreciated!

Found this Bolex footage on YouTube. Looks pretty good to me.

 

it's fantastic... put it up to anything else on youtube and you can really see what 100 years of film understanding can produce

Good point, how did I miss that. ;)

 

-Tim

It is a little overpriced... the three mags help but the thing that throws me is it's a straight up auction. If you bid on it and someone wants to bidbattle it could get pricey quick. Not that there are too many Ebay junkies looking to throw down on an arri but the threat yet looms.