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LimHKim

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About LimHKim

  • Birthday 04/28/1972

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  • Occupation
    1st Assistant Camera

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  1. Thanks..... By conducting a leak test doesn't mean that there will be 100% leak proof during the shoot. There were once I heard the water leaks into the housing was due to mis-handling of the O-ring. O-ring has to really really taken care of and a slight twisted will jepordise the entire shoot. Silicon gel should always come as part of the equipment list. I was told by my senior that 1'0" on land = 0'9" underwater, I guess it's 25% of magnifying. The confusion starts here. What you see underwater and what the camera sees aren't both the same, 25% of magnifying. ? How could it possibly be when the eyes see of the distance of 10 feet and the focus on the camera is put at 9 feet distance ? :blink:
  2. Greetings..... Recently, I was on a shoot that requires underwater camera assistant. Being a clapper/loader in the job, I volunteered for the sake of experiencing and of course I am a diver as well. We were shooting in a man-made pool size of 20ft X 20ft X 6ft height. There was only 1 talent swimming and the camera was locked off at the bottom of the pool. #1 Basically, what is the job descriptions of u/w camera assistant ? Is focusing part of the job ? #2 As objects are magnified 25% in underwater, how to actually do the focusing ? Hoping someone out there can provide me some infomations. Thanks
  3. To Jack Honeycutt Sorry to ask but why wanna convert from the 2-perf to sngle-perf ? Can your camera nicely exposed the 2-perf films ? Correct me if I'm wrong.. the usage of a single-perf simply because of the Super-16 format. Any other comments ?
  4. Being 2nd AC is a hell work in camera dept. and also depends on in which country. I guess not many camera dept. based people knows the workload being a 2nd AC. First of all, knowledge of the equipment is esssentials, especially the terms. Imagine giving out a wrong gear during the most crucial moments. Responsibility being 2nd AC is very high. A good 2nd AC SHOULD NOT by any chance lose exposed films. It happends, but why? Because simply being irresponsible. As for me, every exposed cans MUST be checked and accounted for by an authorized personnel in the productions. e.g. producer or line producer. Never, never, never pass the exposed cans to the Production Assistant or even worst directly to the runnner. Don't simply put the exposed cans scattered around. Keep it near and visible or even can be locked it inside the camera truck. Time management is also a very important factor being a 2nd AC. I would rather say the work never stops until the shoot wraps. How are you gonna backup the 1st AC, load/unload the films, do the slate, writes the camera report, charge the low batteries, move the gears from 1 area to the another, ready to be questions by the producer of stocks balance, arrange for additional gears to be picked up and the faulty gears to be replaced, and much more ?... simply Time Management. Every individual must have a Working System. I always work on a basic standard system. To avoid confusion over films exposed, unexposed, recan, shortends; various coloured gaffer tapes come very useful. I even use colour coding for diff. kinda film stocks used. I believed most of us in camera dept. has his/her own style of working. Always remember that any Tom, Dick and Harry can be a 2nd AC but can he/she be a GOOD 2nd AC ?
  5. Helloo... Does anyone knows where to download moviecam manuals ? Or do I have to purchase it ? I don't mind if can download quick guides as long i'm well prepared for my upcoming shoots. Thanks
  6. Guys....... I have come up with some equations. Working O.T. = less rest = less productive = less time for family = more forgetful = more mistakes during work = more prone to accidents = more $$$$$$$$. I guess better stay alert, stay healthy and stay ALIVE !!! :D
  7. hi andrew, Of course by using the flange focal depth gadge will determine whether that particular lens is cleared from your shutter mirror. That's the safest and the easiest way. If you do not have, make your own with a white perspect. I'm not sure if you can buy one specifically for BNCR 2C camera. If you want some advice on making one, do email me. :)
  8. I always worry about the film slips off from the core even until now. You'll never know when your bad luck strikes. As for me, i have to make sure that the "Take up really takes up" and I have been using the same method as Rob for that past 8 years. I always manually roll 1 to 2 feet on the take up side. So far, I have no problem running from 1 fps to 150fps. As for noise, i think it's not a major problem as long you make sure no scratches. I think you know how to check scratches on the negs. do you ? :D "Better be safe then sorry"
  9. Hello...... I need some notes and comments on the idea of rental houses wanna permanently fix their 16mm cameras with Super 16 format. In additions, the camera comes with a combination ground glass of 1:66 and 1:33. Reasons # 1 : Less hassle. It's time consuming during peak seasons. Reasons # 2 : Minimised accidental damages during interchange. Reasons # 3 : Flexiblity of left and right image cropping at post. (if shooting for Normal 16) Reasons # 4 : Directors still do have options if they want their end products to be on Super 16 (although it's very rare situations) I believed eventually they are planning to have the same setup for their 35mm cameras. Pls. advice.
  10. Geezzz...thanks a lot.. I wonder if Zeiss knows about this situations <_<
  11. Thanks guys, Currently, the technician from the rental house said it causes by the lenses instead of the mount. We had an argument over this matter and thank God we didn't ended up beating each other. :D ...yet...i still not believed it causes be the lenses.
  12. Hi folks, As an 1st AC for the job, shooting super-16 format using the zeiss 11-110 (Super 16) zoom, I found out the by engaging the macro, i could see the edge of the lens at the 4 corners of the frame. I would like to know if the macro system in the lens can be use to shoot on Super-16 format ?? Thanks
  13. Hi.... I realized that most lenses that mounted on the camera have some freeplay in between the lenses the the PL mount. Is it the problem from the camera, the lenses or the nature of the design. ? (The shoot was completed and the result was OK)
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