Stephen Williams

Phil, A damaged belt COULD effect exposures. You could make one out of leather as original. However most people use the spring ones. Try www.frieseng.com (Its no longer Doug Fries) the guys who used to work there can sell you a new one. The contact info still works. Stephen Williams DP Zurich www.stephenw.com

Hi, First find out if your local labs will process the film and how much it will cost! Stephen Williams DP Zurich www.stephenw.com

Uh oh! I just shot a scene with the HS mag tonight with a 9.5 lens open to a 2. I hope it won't be too noticable... :/ <{POST_SNAPBACK}> Hi, If you were shooting a close up it should be OK its further away the problem shows up. Stephen

Hi, ASAIK the flange depth is different by about 10 microns, so with a wide lens , wide open you will be soft! Stephen Williams DP Zurich www.stephenw.com

Hi there, A spot meter pointed at a grey scale may well give you a different reading to an incident meter for that reason. Hovever I use a spot meter to measure the contrast in the scene and then decide where to place the exposure based on how I want the image to look. Stephen Williams DP Zurich www.stephenw.com

Unfortunately not! It means they set up the first scene to look O.K. to their eyes and roll the machine. If you wanted a moody scene they would probably lift it to 'normal'. Its not the same as print 25-25-25 and don't help me! Ideally you need to put a grey chart, grey scale or color chart on the front of the roll and ask to grade to the chart! Stephen Williams DP Zurich www.stephenw.com

Hi, I always try to transfer 16x9 Anormorphic for 2 reasons:- 1) I don't wan't the editor to correct my framing. 2) I wan't to use the maximium resoloution available from the tape. This also helps if one want's to take stills from the tape. Stephen Williams DoP Zurich www.stephenw.com

Hi, What telecine did you use? What noise reducer if any did they use? Could you post any frames? Stephen Williams DoP Zurich www.stephenw.com

Hi, Du Art did me a great best light on a spirit. Stephen Williams DP Zurich www.stephenw.com

Hi there, You won't make any savings on telecine at all! The running time will be longer! The only place you save is film + processing. Camera rental may be more expensive as only a few companies have 3 perf cameras. Stephen Williams DoP Zurich www.stephenw.com

Hi, Go to www.joedunton.com and see for yourself! Stephen Williams DP Zurich www.stephenw.com

Hi, I have just tested throgh the base. I overexposed +3,+4,+5 & +6 stops. All of the exposures are red and quite dark. +5 & +6 are interesting. I will try again upto +9 stops. Stephen Williams DoP Zurich www.stephenw.com

Phil, Most of the 35mm I shoot is with Mitchell's designed in the 1920's. They are totally usable and professional. The latest video assist or eyepiece doesen't have any effect on the film! I can see how the scene is lit with my own eyes, I don't need a monitor for that! Stephen

Hi, The video looks Fantastic! Hope your pdf includes info on building the mini 35! Did you spin or shake the ground glass ? Stephen Williams DoP Zurich www.stephenw.com

Hi, Sounds like when the camera was upgraded to super 16, some money was saved on the viewfinder upgrade! Take a look at an SR3 you may be plesently suprised! Stephen

Phil, As with Panavision modified HD cameras, the best cost more. You don't need expensive viewing systems but as a cameraman if you want one its available! A 1920's unmodified Mitchell has quite a bright "Viewfinder" arrangement. However if you want to look through the lens, use high speed stock, video tap and T8 on a 20+ year old camera it may look dark! Why 500,000 gbp? A 435 costs less than 1/5 of that ! Stephen

Phil, Go to a rental company and check out the viewfinder of an Arri 435 with Cooke S4 lenses. The built in video assist is fantastic too! (I know its 35mm and off topic!) Stephen

Hi, One of the few advantages of Europe is 230v. In the UK the standard wall plugs are 13 Amps, so it works there! Stephen Williams DoP Zurich Switzerland www.stephenw.com

Hi, I think you wil be very lucky to find any with a PL mount! I have only ever heard of 1 set. The cost of rebuilding the lenses would be very high.! If you wanted BNCR or R8 no problem! Good luck, Stephen Williams DoP www.stephenw.com

Paul If you need repairs Ken is the man to speak to! Stephen

Sean, Take your light meter see! If you have a 35mm stills camera you can try some shots and see if you like the look! Stephen

Phil, Keep a low shooting ratio, 8:1 and you can shoot a 30 second commercial on 1 400' roll of 35mm! I often have to work like this and then I can shoot 35mm for a tiny premium to DigiBeta! Stephen

Phil, Before shooting, an insurance company will insist that the camera, all magazines, and lenses are film tested. The film is printed and projected. After testing the insurance co. is sure that the ground glass, focus marks , registration etc. are correct and the film does not get scratched. If we find a hair in the gate, the loader or focus puller makes a mistake, we can shoot again very quickly, at minimal cost. The crew has to admit their mistakes! I own a 25 year old Ultracam 35, recently the soundman said " Its much quieter than the Digibeta DVW 700 you used yesterday!" Some cameras are designed to hand hold, the Aaton XTR is far better than the Arri SR2 you used. Choose the camera best suited to the job your shooting. Cheers, Stephen Williams DP Zurich www.stephenw.com

Daniel, I would just take 1 Zoom Lens! Stephen Williams DoP Zurich www.stephenw.com

The easy way to do this is now is with motion control. In the past the camera was on a dolly with a zoom lens. The opposing moves were done by hand. This effect was first done in `Vertigo' and copied in 'Jaws' and many others. Stephen Williams DP & MOCO www.stephenw.com