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E Mantle

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About E Mantle

  • Birthday 01/12/1986

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    2nd Assistant Camera
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  1. Bit late to the party here but while there is technically no limit to options if recording BRaw on UMP G1/G2 via CFast card, depending on what you're shooting you may experience frequent dropped frames at the higher end. Risky combos mainly appear to be higher frame rates in 4.6K Q0 and Q5 if you're shooting something with lots of moving detail.
  2. Bit of a thread hijack - (and a return to this forum after over 10 years it seems! 😀 ) Let's assume I had a polarizer in first position, would something like black pro mist or maybe pearlescent actually almost counter out the work of the pola in bringing contrast/saturation to the scene (ignoring what it does to reflections)? Is there a good resource about filtration? Any good books? I'd like to learn more about what can mix and match and what should probably not go together? Ideally to firm up my ideas before I rent to test in person. Secondly, and may not be answered here - what's the perceived wisdom on the Arri Rota Pola? Quality? Any colour cast? How much light does it block (Is their claimed 1.2 stops accurate?) How does it compare visually to say the pola on the Tiffen Rotating Multi-Tray? I've just bought a LMB 4x5 and need some polarization but, being on a budget, I haven't yet got all the attachments for the LMB including the rotating stage so was looking at something like a rotating polarizer to fit in the first 4x5 slot. Not sure if this is a terrible idea or not. Lastly, on the Tiffen Rotating Multi-Tray front - any experience here from anyone? I've seen the video they produced and something by Dan Chung over at Newshooter and the pola seems 'OK' to my eye from the video examples. The variable ND function seems like it could be useful - particularly on a motor (for example moving from interior to exterior) but not sure how they're regarded in terms of quality and whether it is worth the extra £600 (Arri rota pola is about £600, Tiffen multi (pola/variND/warm-cool) is about £1200). Thanks! Ed
  3. Hi all. A bit of an update/conclusion to this thread... We filmed over the weekend after the most physically demanding week I've had in a long time. Drilling, sawing, painting, more drilling, more sawing. The plan we finished with (with more than a little input from this forums users!) was to create a platform which extended from the step-down in the corridor all across the kitchen to the back door. We then made two platform dollies from scratch with custom rails made from PVC tubing that had been heated together and sanded smooth. In terms of navigating the corners - we fitted a moveable axle onto two opposite corners of the dolly so that when turning it would always have contact with the rails. It required one person to push from low down behind. The camera was mounted on the second dolly and positioned at a low enough angle that we wouldn't see either the track or the person pushing the subjects dolly. It was a little bumpy in spots but overall it achieved a great effect and we're really happy with the rushes. I'll post a link once it's edited and graded. Thanks again for all your advice Very best, Ed Mantle, Exhausted camera op.
  4. Hi folks, I need to pick up some gels in London before Saturday - A variety of blues and reds with some NDs for good measure - everywhere I would normally use either by phone or online can't guarantee delivery before the weekend - Any stores that you know of? Thanks!
  5. No problem. My post was far too vague. Mid shot. Following the subject. Don't see the floor. Do see the far end of the corridor's ceiling. Doors at either end. No windows. No vents. But yes, the idea is to have the first room as daylight then the second room as night with a lighting transition of some sort in the middle of the corridor...
  6. Hey everybody, Thanks so much for all your responses - they're all providing me with a whole host of things to consider. Apologies also for only getting back to you now - hectic weekend away from email (Actually it was quite nice!) Sanjay, Yeah this is what I'm thinking. (Steadicamwise). Regarding getting a grip to come and take a look, a buddy of mine who works as one in Paris is in the country next week and said he'd come and see if he had any suggestions. I'll keep you all posted on what he has to say. Onno, Ha! I feel honoured to have reached said challenge! You're right - it does feel like the perfect ingredients for a nightmare! You're also right regarding everything except the 180 degree pan - it's closer to 120 but still! A) Overhead. Yep. Already I've spent a lot of time this week calling places about overheads with such short curves and have had no luck. The pan is going to take place at the start of the shot. The camera is basically facing a wall and pans 120 degrees or thereabouts to the subject which then proceeds to move into the corridor - the camera following on behind. I'm also a bit suspicious as to whether a dolly would be able to take the corner without the walls but I'm going to take some time this week to be sure by getting some absolutely precise measurements. c) Thanks for the diagram. I think I know what you mean and I'll certainly mention it to my grip friend next week and see if we can come up with something. D)The garden hose option might work. I'm a little concerned about how steady it'd be but frankly in this situation I can't afford to be choosy! I'll certainly try to find your booth at BSC09 and say hello. Perhaps with diagrams! Jon, I think you're probably right... I've simultaneously been scouting a few ops and dry/wet hire companies this week so I'll give it some more thought after next week when Paul (the grip in question) gets a chance to take a look. Darryl, Yep, as mentioned my friend Paul is going to take a look which will no doubt pay dividends. I'll also mention to him, along with all the other suggestions, Onno's thought on handrail type tracks. Onno, I like the concept of the heavy duty curtainrail but if you mean suspending it from the ceiling then unfortunately I don't think it's going to work. The ceiling is very high in parts which will mean by the time the camera is at the right level - about 2 and half/3 feet off the ground - there will be too great a potential. Add to this the fact that the roof of the corridor comes down suddenly where there are stairs in the apartments above and it just becomes impossible. On the other hand doing it from the ground up might well be an option. Similar in terms of your earlier suggestion of garden hose but perhaps a little smoother? Anyway. I'll have a think and again I shall let you all know how Paul and I get on next week - I think he's in London from the 10th. Thanks once again for all the input. Invaluable. All the best, Ed
  7. Hi all, My task it to light a narrow corridor that recieves very little natural light for the duration of a tracking shot that takes place for the full length of it. At one end of it is a room that will be lit as though it were daylight outside - at the other end there is a room that will be lit as though it was night outside. I am happy enough lighting each room as such but what about the transition between the two that will take place in the corridor? Regarding space for lighting there is very little indeed - The corridor measures just over two foot wide however it is quite high - as much as 10 feet in places. Any thoughts or suggestions? Thanks, Ed Edit: I'm lighting for video. (It's a music promo if you're curious).
  8. Hi Warwick, I'll have a chat to a few of the London suppliers and see what they say about the Filou.. If I elevate the track from the step in the landing then I'd need to elevate it all the way into the second room which is where the scene will be cut - the set re-arranged, then we'll roll again for another tracking shot (much simpler one this time![it leads from the centre of room 2 to the garden - no steps/ramps/narrow corridors!!]). My issue with this is continuity. If I cut to a rearranged room then surely the camera will be 8 inches higher. Unless of course I raise the camera support after the cut instead of raising the entire track? Though to have a seamless cut will require a lot of very careful measuring.. Thanks for the reply and also for the heads up on the BSC show - I've just registered for tickets. (The shoot is the week beginning 30th of March) Best, Ed
  9. Hi again Warwick, Hi Sanjay. I'll answer the replies in order again. Warwicks first reply: Yeah, actually after I read that I did a bit of research about the Spyder and that goes along with what I learnt. I was thinking perhaps the flexitrack might be an option - I.e. with a set up like this: http://www.porta-jib.com/spider2-lg.jpg But now after reading the other two responses I'm not so sure... Incidentally I'm following the actor. Sanjay, You're absolutely right about scissoring and not being able to fit curved track to it. Rookie error on my part. But I guess that's why I'm asking for advice here! Regarding dimensions and direction.. Basically the camera follows the subject from a big room - facing the wall opposite the doorway to the corridor. We track through the door turning immediately left into the first part of the corridor (slightly wider than the 2 feet central section) - travel for about 3 feet - turn 90 degrees right (as we turn right there is a distinct narrowing where there used to be a wall which was knocked through. This is where it turns to 2 feet wide. There is however a slight alcove built in on the left at the right angle.) After turning right we follow the corridor in a straight, horribly narrow line for about 20 feet then we come into a sort of landing area which is much wider - maybe 6 square metres - we'll go almost straight across it (slightly to the left) and hrough the doors into Room 2. One thing to note that I have completely neglected so far (not to add further to this nightmare scenario!) is that there is a step leading down from the narrow straight corridor to the landing area. It's a single step about 6 inches high which I had planned simply to build a long ramp down leading straight into Room 2. Regarding getting the best grip to work for us... Well. I can only try. Although it is for a music promo so budgets are tight as I've mentioned. Warwicks second reply: Narrow gauge is looking possible but again I'm concerned that it will turn into a budget nightmare. We're filming in London so if I find some track for the Filou in New York for example.... Well you can see how it'd just turn into a nightmare - shipping - dates/schedules etc. Luckily we're not planning on going at any sort of speed which will undoubtedly help stability - though having said that any bumps will surely be exaggerated due to the fluidity of the rest of it.. You're right - 24" is VERY tight. I hate this damn corridor! The doorways are a little wider but they come onto a side wall at each end so it doesn't look too unusual. Maybe 30". They are however quite low. I'm 6'3" and I hit my forehead regularly... I'd say they're 6ft high. .................... I'm giving genuine thought to just going handheld for the whole damn shoot but the concept is there will be a cut in Room 1 and 2 on a static shot so we can reorganise the set and then record again seamlessly as though we were in a different room - but perhaps a steadicam or equivalent might allow us to do some sort of shakycam jump cut which we could morph in post? We shall see... Anyway - thank you both for your input. Best, Ed.
  10. Hi Robert, Hi Warwick, Thanks for getting back to me. Robert first, the floor is wood in the first room, carpet in the corridor, wood in the second room. In terms of corridor length, it's about 20-5 feet long, however the camera is going to be quite low (looking up) so as long as I'm careful with my blocking there isn't too much of a worry about getting things in frame that shouldn't be. I was actually at a friends shoot yesterday and coincidentally they had rented a model 11 so I had a play with it in the down time. It may well be an option. Construction is also another good possibility. I've made numerous set ups in the past for specific shoots and we're not filming till March so I've got time to experiment. I've just been taking a look at the SGS website so that's something else to consider.. Warwick, regarding the focus puller - a remote might be an option. My concern at this stage is running up more and more costs... I'm trying to keep the distance between the subject and lens as close to finite as possible... I do indeed need to look into Room 1. The first part of the action takes place there facing the wall to the right of the corridor. Then the camera pans and tracks the subject into the second room where more action occurs. Regarding any overhead grip there's A - no way the budget will stretch and B - no way it'd fit if we're lighting what is essentially a dark corridor as well unfortunately - though I agree - it would look lovely. Thanks to both of you for your input though. What about the Spyder? I've neither used nor seen one in person. Sizes? From photographs it looks like it could be useful.. Best, Ed
  11. I have a narrow corridor - about 2 feet wide - with a right angle at one end that I need to track around and then down. Both camera and operator need to be mounted on it, preferably with room for the focus puller What are the best options for such a small amount of space? On a side note, though perhaps for a different forum page - what about lighting? There are no windows in the corridor itself though in the rooms at each end there are large bay windows, Room 1 facing South, Room 2 facing North. Having said that however, the scene is set in the early evening. The corridor has a very high ceiling for the most part though around the doors at either end, naturally comes down sharply. But normally its about 10ft high. I.e. space for extender grips to be mounted and lights rigged from them? There is also a small alcove on the left just as you turn right in the corridor. It is only about 2 feet wide and 8 inches deep... Definitely can't steadicam it as I need the camera to be in a fixed position before entry into the corridor and again afterwards. A really bad ASCII diagram would (hopefully, depending on how it is formatted on the forum page!!) look something like this: ____________ .....................l .....................l .....................l .....................l ROOM 2..........l ......_________l l.....l l.....l l.....l l.....l l.....l l.....l l.....l l.....l l.....l l.....l_________ l....._____........l________ l___l..............................l .....................................l .ROOM 1.........................l ......................................l ......................................l ......................................l ......................................l ......................................l ______________________l Basically the camera needs to follow the subject from Room 1 to Room 2. It's the corners I'm concerned about... Suggestions? Thanks all. Ed
  12. Hey Robert, Hey Steve, Thanks for the input. To Robert first - Greening it may well be an option though out of personal preference I'd avoid it if I can. Unfortunately any of the Fishers I can get access to are simply too wide for the corridor. I went back today and there's no way one can fit. To Steve - Unfortunately a long dolly isn't going to work either - even if I could get one narrow enough to fit in the dimensions of the space it would still wouldn't have a chance of navigating the corners which are almost zig zags! I.e. There's an immediate left turn followed by a right followed about two feet later by another left... Which brings me back to having two seperate small dollys maybe custom made or altered by my engineer friend on the cheap and linking them together some how OR not even bothering to link them but just making sure the crew is particularly careful when it comes to maintaining distances - perhaps tie a piece of cord between the two and make sure to keep it tight! Anyway, I'm taking a grip friend of mine to the set tomorrow so I'll hopefully have something a bit more solid by the end of the day... Thanks for the input so far guys, Ed
  13. Hi Dave, Thanks for getting back to me. That's not too much of an issue - i.e. it's ok to not have the floor in frame. One issue thought is that ultimately, it's going down hill, the building is at an angle and it's going down steps so it might look a little strange but I'll have an experiment with it and see how it looks this week when I get over there. Secondly, yeah I had actually thought about attaching the chair platform and the camera together as you suggest but was thinking actually to use this only as a way of measuring and maintaining the distance between the two devices. Your way would actually make a lot more sense although as it has to go around corners I'm not sure if this rail or some sort of attaching device might need to be on pivots to allow taking bends. Also if my grip is pushing both the platform for the performer and the the camera/cam operator then that's an awful lot of weight! Perhaps I might think about pushing AND pulling. So - out of sight rope/pulley system to the rear and two strong backs behind the camera at the front... Thanks again, Ed
  14. I'm working on a music promo, the second part of which requires a single and rather ambitious shot of the talent sat on a chair facing the camera and moving backwards through one room, into a narrow winding corridor, down a step, into another room and then down a second step into a garden. All the while the performer will be sat on the chair facing and singing to the camera. The camera needs to be, if possible a fixed length from the artist. I'm fine with how the shot is going to be lit and have done some test runs and it looks fine. But does anyone have any idea on the grip front about how I can manipulate the camera and the chair/singer with the greatest control? The surface the chair moves on in the first room and the corridor is soft carpet, then the second room is wooden flooring and then obviously lawn in the garden... It needs to be as smooth as possible as the director wants to divide it into three parts where a pan away to a completely static subject will be cut, then the rest of the set will be altered(almost like a save-point), then we'll roll again and continue with the next section. This means a steadicam or equivalent is out of the question Unfortunately I'm doing this pro bono as I owe a few favours to the director who's working on a limited budget as a favour to the artist! This means I'm obviously not going to be able to afford much in the way of heavy duty grip gear. However I live with an engineer so making something shouldn't be too long a shot if it's relatively simple. I'm thinking of using two mini platform dollys running on rails with ramps at the steps but my main concern with this option is how to propel the singer who is sat largely motionless on the chair apart from moving to sing and play the instrument. Perhaps a pulley system from behind? The shot is quite a low angle so there are no problems about hiding anything like that so long as it is low to the ground... Another thing to consider and perhaps a plus point to using rails is the fact that the carpet is quite soft and the singer is... well... quite heavy... so a lack of railing might mean a more jerky motion which wouldn't be good. But what about getting rails, on a tight budget remember, to go around corners... Seriously any help you guys can offer would be greatly appreciated and I'll let you know how the project goes. Thanks in advance, Edward Mantle
  15. E Mantle

    Matte Box

    I very nearly just set GearDear.com as my homepage... That's possibly the sexiest website I've ever seen. I think I'll do some research on them as they do look pretty tasty... Though none of the package deals seem to come with french-flags or wings which I find odd - still to order them from the site separately shouldn't be too much hassle... Anyway I'll look into them. Thanks! Anyone else like to add their two cents? Perhaps someone has first hand knowledge with using GearDear boxes?
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