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Webster C

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Webster C last won the day on July 31

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About Webster C

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  • Occupation
    Other
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    Oakland
  • My Gear
    BMCC, Canon 60D, Mitchell NCR, Mitchell GC, Wall, Arri IIB, Eyemo, Bolex Rex 4 Super 16, Bolex Rex 3, Bolex M, Revere 103 - homebrew Ultra/Super 16, Canon 1014XLS, Elmo Super 110
  • Specialties
    Animation and Visual Effects

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    https://vimeo.com/webstercolcord

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  1. The workflow could be somewhat more complex than this for shows that were shot on film but didn't go thru a film finish; i.e. your typical commercial, music video, industrial film, or tv show. If there was significant editing to do (in the linear editing era, or before NLE could take you to final) there would be an offline edit done in advance and an online conform session. It was all very complicated and expensive.
  2. I just picked up one of these 28mm Schneider's for my Arri IIB, the lens is a bit beat up but the glass is good and looks great thru the viewfinder. One thing I had forgotten about the Arri standard mount; (like a C-mount lens) you can disengage the lens locks and you have a built-in adjustable extension tube for macro work.
  3. Is it a chunk of the 10 freeway heading West? I haven't lived down there since 2015, but it looks kinda familiar...
  4. There's also a company that released a DVD set years ago that's all about blocking actors and camera angles, how to deal with complex staging issues, all that... it was sort of meant for previs artists (one of the previs companies I worked at had the set) and it's really dry and boring, but full of good info. It won't help so much with the lingo that you need to know - terms like "cowboy", "dirty over", "banana" - the "Movie Speak" book is better for that. https://www.hollywoodcamerawork.com/
  5. If you're working on a set, you need to know the lingo for the various shot possibilities. There's a lot of short-hand terminology for various kinds of shots, set-ups, and even for blocking. Unfortunately they don't teach much of this in film school, you have to be on set to learn it. This is a great book that covers a lot of it: Movie Speak on Amazon
  6. I couldn't find anyone to commit to it in time. I am told that after WWII, manufactures were looking for other things to build with aluminum and the photo and film business benefited from that. The attachments to the columns were giant pieces of cast aluminum. In my opinion, it was overbuilt and I don't feel too bad about scrapping it, because it just would have become someone else' burden down the road. If I'm not mistaken, animation stands by other manufacturers, like the Acme and Forox, were more streamlined than the Oxberry. We saved the camera, the focus cams, the platen, the electronic control system and other items, and those are going to a group in Vancouver BC who are missing some pieces for their Oxberry. The columns, base, camera arm, and platen x/y mover went to the scrapyard.
  7. Very nice! Love the double exposures. Curious - your image looks wider than Super 16, but it also doesn't look cropped top and bottom. Plus the flares - what were the anamorphics that you shot with?
  8. The Minolta XL401 is a little S8 camera with a lot of features and a good lens. I think you can pick them up on Ebay for around $50
  9. I couldn't agree more with what Tyler said. For an "extra camera" at a fashion shoot, a Bolex is a great way to start (as long as you don't overpay for your system). Also - it shouldn't matter but it does - while we all want to be seen with modern, slick-looking gear on-set, the Bolex is familiar to people and has a quaint cache. You (probably) won't be the laughed at for being seen with it.
  10. You are exactly correct! He had to cut a hole in the ceiling of his garage and build about a 4ft. extension "box" for the columns! The thing is huge.
  11. I agree with what Bruce says. In addition there are established known cutting techniques. Matching action exactly between shots and cutting in the middle of a motion, like a door swinging open, can often result in the action feeling like a "double cut". Sometimes double-cuts are intentional, but the rule for an action like a door opening is to cut right after the beginning or end of the motion in either shot. There's also a lot of ideas about establishing the relationships in a space, like a dialogue scene in a room, and whether it's better to obey the geometry of the objects in the physical space, or (more likely) for the editor to "come in cold" and not necessarily restrict themselves to the logic of the actual set. Of course, a good director can make the editor's job easy in that regard.
  12. Very interesting, I had no idea about the difference in the shutter. I love my Bolex M and it has always produced great results but was also a bit of a mystery. My model has the flat base and 1-1 gear like the RX-4.
  13. Responding to this ancient thread - I just acquired one of these Filmo "Superspeed" cameras. They weren't actually a modification, but a version of the camera that Bell & Howell made in (presumably) smaller numbers than the standard Filmo. I found a manual online which says that the full spring wind will shoot 15 feet of film at 128 fps. My camera came with a motor, but I'm more interested in shooting with the spring wind (at least for the first tests I'm going to shoot).
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