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Paco Sweetman

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Everything posted by Paco Sweetman

  1. I'm selling my two Tobin Cinema Systems Motors, as I've parted ways with my Arri 16s. 1 x TCS - TXM-22 Crystal Sync Motor £325 1 x TCS TXM-23 Variable Speed Motor £225 Or if you want both £500 And I'm also selling the shoulder brace for the Arri 16s. It still works perfectly but is obviously as old as the hills, and some of the edges of the padding have slightly worn away (pictured) £70 Send me a PM if you are interested.
  2. And lastly the 50mm. Any advice from this knowledgeable community I would appreciate. Many thanks.
  3. Now a year Later I have a baby on the way, so, these are going onto Ebay this Thursday Night. If you have any idea what you think I should ask for them I would appreciate it very much. They need a clean, but I'd rather leave them to a professional to do that. They were serviced about 5 years ago and used once since then. 9mm and 12.5mm
  4. Hi all, I know this might not be the right place to ask this question. I bought many years ago an Arri 16s and it came with 6 lenses. The lenses are: 9mm - Cooke Kinetal T2 12.5mm - Cooke Kinetal T2 17.5mm - Cooke Kinetal T2 25mm - Schneider-Kreuznach T1.4 37.5mm - Cooke Kinetal T2 50mm - Cooke Kinetal T2 Alas as I bought the kit to shoot my own small 16mm stuff, but now thanks to life changing events figure it's time to move on and sell-up. So my question is: Are these worth anything? I figure they must be pretty obsolete as I see people selling Arri 16s for $100 online. Let me know if you have any ideas. Thanks for reading, and apologies again if this should be in a different section of the website. Paco
  5. Hello all, I have to begin prepping my dissertation in the coming few months. Although I'm not doing an MA in Cinematography, I have been interested in cinematography as soon as I began learning about cineman and the process of making films. With today's advent of Digital, everything from acquisition to post-workflow to distribution, I have pitched my dissertation as an investigation into the processes that cinematographers would use to create aesthetics that would help to tell there stories in new and unique ways, before the world of DI's, Scanning and HD Camera's. My starting points are: The use of flashing celluloid in films (i.e. Vilmos Szigmond: The Long Goodbye & McCabe and Mrs Miller) Kubrick's use of a 0.7 Zeiss lens in Barry Lyndon to shoot using candles. The use of Reversal stocks for features, like Barbara Loden's WANDA & Vincent Gallo's BUFFALO '66. If you guys can think of anything that would be worth looking at, referencing films, processes, techniques etc. then please post here and let me know. I will also be looking at American Cinematographers as well. many thanks Paco
  6. I've got tickets for the screening at the London Film Fesitval 2012. It's showing off a 4k DCP. I'm quite excited. I know it's not a print, but the BFI Southbank take projection of there films seriously so I don't think anyone will be disappointed. That and RYANS DAUGHTER are my favourites of his big screen epics.
  7. I completely agree with your comment. I worked with a Pakistani man about 15 years ago and I turned the conversation to 'The Satanic Verses' by Salman Rushdie. At that time Rushdie was still under a Fatwa and had to fear for his life. The man I worked with said that he should be killed for writing it. When I asked had he read it, he said NO. Ridiculous. The fear is in this instance is that all Muslim's would get painted with this religious zealot brush. For a Muslim, to commit murder in any way shape or form, denies them a chance in the afterlife. Unfortunately, like the David Koreshs and Reverend Jim Jones, you get people who subjugate religion for their own ends. I apologise If I offended you Mr Ebersole, but with many friends that are Muslim, and who don't believe in vicious militant and brutal aggression tactics that are used I always try to stick up for the Muslims that do follow the straight and narrow.
  8. Your talking about the Muslim faith. This isn't a case of 'broadening horizons'. They take the Koran and Islam as seriously as most American's take the Star Spangled Banner and the right to bare arms. The film is total propaganda to provoke a reaction and unfortunately is has done so. And it has done so in countries that are beyond poor, and beyond corrupt, and where the average man and woman follows their religion with the kind of fervor that most Christian churches wishes they could instill amongst there masses. For the record I'm not Muslim and I don't live in a Arab country. And yes, the production values are total shite.
  9. I just saw this. Both of Andrew Dominik's other two films, Chopper and The Assasination of Jesse James had stunning cinematography. I thought this was no different. I think it looks like it was digital though. Anyone got any info??
  10. I think it's sad that the art of film cinematography is going. Where making choices on stock could produce such wonderous differences in the look of films. I know that there is the Alexa, and the various RED's and the Sony's and the Panavision Genesis. But I still don't think that these have the texture of celluloid. Films like The Wrestler, Clerks, Irreverisble, The Hurt Locker, Primer, Vera Drake...and these are only the 16mm films. I could go on about the films of PT Anderson, and Malick and Kubrick, and Polanski...I'm finding that a generic 'look' is slipping into cinema. I know many of you will disagree. But the feeling of celluloid going through the gate of the camera. Putting it in a changing bag and taking it out to be developed. Wondering has something gone wrong with the stock or the camera (as it did in college films sometimes) being amazed when a great DP brings something to life in the image. It's all 1's and 0's now. And I'm not even a cinematographer. Also, Fuji always looked after us in University. And even after we left shooting short films and making music videos.
  11. I was going to start using 6 Duracell Rechargeable NiMH batteries in my Beaulieu 6008pro. Does it matter that the NiMH batteries are 1.25v compared to the 1.5v that are in the Alkaline batteries?
  12. Hey Robert, I was wondering what Stock you shot the Psychic Alchemist on.
  13. Hey, I recently bought a 400ft magazine for my Arri 16s. I wanted to shoot a 100ft test roll with it to make sure there is no light leaks etc, and the cheapest I could find in London was £75+Vat. This includes telecine to a digibeta. I already own a 100ft roll of Fuji Eterna 500 that I wanted to use. I'm not 'known' in any lab. If this price sounds reasonable to you lot, then so be it.
  14. I don't even understand why you post on this site. This is the second of your posts I've read in two days that talks about how crap the UK is for film and filmmakers. What is the point exactly? Oh and the plenty of British cinematographers in LA...in which country did they start in?
  15. Emma, I'd avoid listening to this guy. He's one of those people think that thinks the sun rises and falls with American films. Good for you. There is plenty of brilliant English cinematographers.
  16. I loved the film. I saw it back in November. I want to see it again. It was quite heartbreaking. Andrew Garfield was brilliant in the film Boy A if you can find it.
  17. Hey Courtney, I thought I would throw my 2 cents in to this one. But, I'll be honest, I'm not a cinematographer. I'm an editor by profession. I like shooting celluloid in my spare time. I have been in your shoes though. When I was in school I loved films and TV but never thought I'm competitive enough or whatever to get a job in the industry. I did a two year media course, and realised that I loved working in film / TV that I went to do a degree in film production. You said in one of your postings that you weren't afraid to be out of work but just to fail. What you need to understand is that failure is a part of the process. It's not mathematics. There is no one way to do anything in this industry. There is only your interpretation. How you shoot a scene, or edit a scene or direct a scene, is your way. I think if you don't fail occasionally then you aren't pushing yourself hard enough. Be it underexposing some shots, to making poor shot choices; you name it. I found going to film school a great place to try out new things, to succeed and at times fail because I was too inexperienced or just reached a little bit too far. Most of my best friends in the world I met there. And on those rainy days when your film shoot's gone crap or the edit isn't working out, they are there to help you and give you honest advice. If you want to be a cinematographer, then you can either got to a film school or you can try and apprentice yourself to a DP and learn from them. I think it's total B.S. that you have to have a family member that works in the industry. My whole family work in either construction or law, so I get dubbed 'the arty type'! If you choose this profession and you like it, one thing I would say, (and it's a positive in my opinion) It's not a 9-5 job. It's infuses itself with your whole life, the way you see things and the way you interpret things. It's not always roses, but it can be immensely rewarding and fulfilling. It can be come a complete passion. Just look at all the full time filmmakers online here that spend so much time posting answering questions and sharing info. Good Luck. Paco
  18. Thanks John. The Reason I'm looking at the 12volts is that I have a Tobin Cinema Systems Crystal sync motor from him (TX-22). And I'd really like to be able to use that. I know that it would also involve me converting my torque motor to 12volts. I figure fix the kit now while there is still items like this on the scene. RE: Making one, i quite simply don't have the expertise. I figured if I bought a Bescor, apart from using a plug adaptor to charge it, it would work fine with my 12volt motor. I would probably bin the original Battery's and sell the variable speed motor that came with it (who would take it anyway?). I'm basically asking to make sure I don't order a loads of stuff from the US and figure out I've made a huge error miscalculating something.
  19. Thanks Jean-Louis, unfortunately I don't know what the batteries are. I think it's fair to say they're both banjaxed. I really want to use it. So I have found this. http://www.bhphotovideo.com/c/product/113655-REG/Bescor_BES015XLRATM_BES_015XLRA_Shoulder_Pack_Lead_Acid.html Could anyone see this as being a problem?
  20. I would club a baby seal for a PXL-2000
  21. I learned how to edit using NLE's with Premiere. Then moved to Avid. I now use FCP which I love. If it was a choice between going back to Premiere I would rather use a Steenbeck.
  22. Yeah I feared that. What would you charge them on though. The Low or the High? DC amps 4 or 6.5?
  23. I'm using an old PAG universal constant current charger to charge an 8volt battery I have. I've never used this before. It has two settings on it. One is low and the other is high. The Low setting shows 4 DC Amps on the meter and the High shows 6.5 - 7 DC amps. I tried charging it on low and nothing happened. Then i charged it on High and the camera was running fine for a test last night. Now the battery doesn't seem to be charging. I know I'm asking stupid questions, but I'm baffled. Any help / suggestions as always would be greatfully appreciated.
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