Sam Ebrahim

My two cents on the "Women in the Camera Department" thing.... One of the best Focus Pullers I've worked under so far, Kim Vinegrad, had to lug a Viper Filmstream up and down hills (that may aswell have been mountains they were so steep) for 2 months on the job we did together. At no point did she falter, even if the Operator himself found it taxing. Those Cameras are not light, especially when mounted with a Zeiss DigiPrime! Further to that She could be more macho than the men in the crew if needed! I've worked under two exceptional female Focus Pullers now, Kim included, who either gave me A. a good kick up the arse or B. better training/advice than many male counterparts.

Basically, if you can formulate a sense of humour similar to Phil's, then you're pretty much sorted. I would certainly take a good look at what he's said in the linked thread. The home truths are all spelt out there for you. Sam

You're right that Rental Houses see Peaks and Troughs in activity dependant on Season, but turnover of staff isn't something I'd particularly attach to that as well. If they've got a position, and you can prove you're the right guy for the job, then there's no reason they won't bring you in on the floor. The reason you want to be in there initially is to get to grips with all the Camera Gear they have from a technical stand-point. The jobs will then come when your superiors have got to know you and feel confident to recommend you out on a job, or you make an impression on a Crew that have come in for Tests/Check-out etc. It's a route that I didn't take, but still think about. I don't know about Lime Pictures, but what Arri can do is eventually get you on their Crew Diary Service. Again, this isn't something I've experienced personally, but I know a DoP who is and this surely helps him in terms of Kudos and to some lengths steadiness of work. It depends on how you want to do it; if you want to be doing your job on set all the time, then it might not be the best option. As another person said, it's good enough to have a working relationship with the Houses, but not imperative to make your start there. However, I'll re-iterate that the one huge benefit of working in a House is that you can learn everything you need to know about a plethora of Cameras, Lenses, Grip Equipment etc. that will make you infinitley more confident in working with said equipment when the job comes. In terms of getting on to Productions, there are again a variety of ways to get in. The major one is recommendation from previous colleagues, so take Adrian's advice on board and keep those contacts close. The other, which some might disagree with is yes, contacting the Production directly through whatever means (Listings etc.). You might also like a DoP's work and get in touch with them, offering your services. The same goes for your 1st/2nd AC. If you can get a personal rapport going, then I imagine it will be much easier to land the work. Finally, I would like to give a word of warning. Be careful not to throw yourself out there for something you might not be prepared for. As a Focus Puller once told me, it takes years to build a reputation but can take seconds to destroy it. Don't state to be something you're not, as it will only bite you in the arse later, unless you're lucky! Hope that helps. Sam

Where specifically in the NW Ben? Only asking because I'm wondering if Screen Yorkshire still do their Year-long Trainee scheme. If so, it might be worth checking out. The first Focus Puller I worked with was selected for it and he's doing well for himself. As far as I remember, they fast-track you into at least 5 major Productions, giving you a good head-start. I was in the runnings for it myself but ended up moving to London. As for Alex's suggestion on Rental Houses: Provision in Leeds were a good place when I was around. They always had showcases for the new Camera Tech. and/or Open Testing Days, so it might be an idea to visit just for that. Of course there's always Panavision in Manchester and Arri in Leeds as well (I think?). Get in to those places and ask to study/play around with the Gear, both new and old. They normally set-up tutorials etc. Remember that Wales has become some-what of a hotspot for certain Productions because it's proving a bit cheaper to film over there. If you're close enough and willing to travel it might be a chance to get on some good stuff. Looks like you're trying to avoid Film School/University which is a good thing in my eyes. I made this mistake and it's only put my career on hold whilst I finished my degree. Helped me to prove creative ability but unless you're planning to state you're a DoP straight off the bat it can get in the way of being a Technician. Good luck and hopefully we'll bump in to each other one day! Sam

Hello all, Any help on this issue would, as always, be hugely appreciated. Will be shooting my Grad film in 3 weeks time. Filters (bar some questionable uses of Pro-Mists for a Student Commercial), are something I've overseen up until now. It would be nice to be at least getting some out during test shoots so I'm wondering - after a quick explanation of the project - whether you'd be kind enough to offer suggestions/horror stories whilst I look in to options myself. Format: S16mm Stock - Fuji Vivid 500T (8647) for Interiors, 160T (8643) for Exteriors and F-64D (8622) for Beach Scenes Camera and Lenses: SR3 w/ Cooke Sk4's (16 & 35) The film centers itself around a widowing ex-journalist who lives in a bungalow by the British south coast. Here are some images of the main location sans set design: Living Room Living Room 2 Bathroom Hallway The Director of the project is taking some aesthetic inspiration from Vincent Gallo's 'Buffalo '66'. I myself have found Red Riding 1974 to be a good referential starting point. Here's a link to the trailer if needed (apologies for quality): http://www.youtube.com/watch?v=H0GbxNqDBM4 Maybe it's because I'm Northern (where we do what we want!)? I don't know. Anyway, during daytime scenes within the location above I plan to use/augment/replicate only natural light filtering in to the rooms for the most part. During night-time interiors I really want to embellish the practicals; getting a dirty, yellowy warmth out of the room. Any filters spring to mind that may aide me styilistically? Apologies for such a long post. Any information would be much appreciated and don't worry, I'm researching all this myself, I'd just be interested in the first-hand experience you all have. Thanks, Sam Ebrahim

Hey, Thanks a bunch for the detailed (and surprising) replies. Unfortunately they came after the auction had ended, and I didn't really want to get it without professional advice (seeing as there are so many Super 8's floating around at the moment). However, I'm not sure if the seller managed to get rid of it so will ask him to put it up again if not. I'll keep your advice in the back of my head just in case I come across another! It's probably worth picking up the next one that comes along anyway, as I've never used Super 8 before and obviously want to try it out. Thanks again, Sam Ebrahim

Hey all, Have come across a ROLLEI SL 83 and wanted to know if anyone has had previous experience with these cameras. It's going for around £30 and I'd be using it for the 'Straight8' competition initially. Is it worth the money? Just to let you know I've browsed the net and these forums for information but couldn't find any. Cheers, Sam Ebrahim